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diff --git a/old/54381-0.txt b/old/54381-0.txt deleted file mode 100644 index 459a5f8..0000000 --- a/old/54381-0.txt +++ /dev/null @@ -1,3311 +0,0 @@ -The Project Gutenberg EBook of Collecting Old Glass, by J. H. Yoxall - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Collecting Old Glass - English and Irish - -Author: J. H. Yoxall - -Release Date: March 18, 2017 [EBook #54381] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK COLLECTING OLD GLASS *** - - - - -Produced by Chris Curnow, Chris Jordan and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - THE COLLECTORS’ POCKET SERIES - EDITED BY SIR JAMES YOXALL, M.P. - - - COLLECTING - OLD GLASS - - - THE COLLECTORS’ POCKET SERIES - EDITED BY SIR JAMES YOXALL, M.P. - - Each Volume Illustrated. Price 3s 6d net - -[Illustration] - - - COLLECTING OLD GLASS - By J. H. Yoxall - - COLLECTING OLD MINIATURES - By J. H. Yoxall - - COLLECTING OLD LUSTRE WARE - By W. Bosanko - - COLLECTING OLD PEWTER - By H. J. L. J. Massé - - COLLECTING OLD PRINTS - By E. Gray - - COLLECTING OLD WATER-COLOURS - By R. W. Howes - - (Other Volumes in Preparation) - -[Illustration: decoration] - - LONDON: WILLIAM HEINEMANN, LTD - - - - - COLLECTING - OLD GLASS - ENGLISH AND IRISH - - BY J. H. YOXALL - Author of “The Wander Years” “The A B C - about Collecting” “More about Collecting” - - - _The glass of fashion and the - mould of form_: Hamlet, iii. 1 - -[Illustration] - - LONDON - WILLIAM HEINEMANN, LTD - - - - - _First published January 1916_ - _New Impression March 1925_ - - - _Printed in Great Britain_ - - - - -PREFACE - - -I hope the reader may find that this book, though smaller than others -on the same subject, is more helpful and even more comprehensive than -they are; that it deals with the glass articles which they mention -and with others which they omit; that it simplifies and classifies -the study and practice of glass-collecting more than has been done in -print heretofore; and that it can do these things because it is written -out of personal knowledge, gained from much experience, and not from -hearsay or from other books. - -Diffuseness has been avoided, but this, I hope, has enabled me to make -the book the more lucid, as well as the more succinct. At any rate, -it affords hints, general rules, and warnings more numerous and more -practical than any published until now; I have also tried to give to -it a quality which reviewers have found present in my other books on -Collecting--that is, a simplicity and clearness of explanation, done -at the most difficult and necessary points, and in an interesting way. -Moreover, this book has had the great advantage of revision (before -printing) by Mr. G. F. Collins, of 53 the Lanes, Brighton, a pupil of -Mr. Hartshorne’s, and well known to all principal collectors of old -glass. Most of the illustrations represent typical pieces in my own -collection, but for some of the finest I have to thank the kindness -of Mrs. Devitt, of Herontye, East Grinstead, a collector indeed. The -illustrations do not represent relative sizes to the same scale. - - J. H. YOXALL - - - - -CONTENTS - - - CHAPTER PAGE - - I. OLD ENGLISH GLASSWARE 1 - - II. SEVEN GENERAL GUIDES AND TESTS 14 - - III. BLOWN WARE 26 - - IV. CUT, MOULDED, AND ENGRAVED WARE 29 - - V. OLD COLOURED GLASS 35 - - VI. OLD DRINKING GLASSES 40 - - VII. THE VARIOUS TYPES OF STEM 46 - - VIII. THE VARIOUS SHAPES OF BOWL 56 - - IX. OTHER STEMMED DRINKING GLASSES 60 - - X. JACOBITE, WILLIAMITE, AND HANOVERIAN - GLASSES 66 - - XI. TUMBLERS, TANKARDS, “JOEYS,” AND - “BOOT” GLASSES 73 - - XII. BOTTLES, DECANTERS, AND JUGS 76 - - XIII. BOWLS, LIFTERS, SUGAR-CRUSHERS, - SPOONS, ETC. 79 - - XIV. CANDLESTICKS, LUSTRES, AND LAMPS 81 - - XV. COMPORTS, SWEETMEAT, JELLY AND - CUSTARD GLASSES 84 - - XVI. SALT CELLARS, PEPPER BOXES, SUGAR - BASINS, ETC. 88 - - XVII. MIRRORS, GLASS PICTURES, GLASS KNOBS 90 - - XVIII. OLD PASTE, GLASS BEADS, AND TAWS 92 - - XIX. GENERAL HINTS AND WARNINGS 95 - - INDEX 107 - - - - -I. OLD ENGLISH GLASSWARE - - -The glassware made in England and Ireland during the eighteenth and -part of the nineteenth century was the best of the kind ever made. In -quality, tint, feel, and ring the plain blown glass was a beautiful -product, and when it was cut or engraved the decoration was done by -fine craftsmen and often with excellent taste. Old glass has its own -peculiar charm; the dark beauty of the crystal metal, the variety -of form, the bell-like ring when flipped, the satiny feeling of -the surface, the sparkle of the cut facets, and the combination of -gracefulness and usefulness attract a collector: in cabinets it shines, -gleams, glows, and sparkles in a reticent, well-bred way. - -[Illustration: (1) MOULDED; (2) COTTON-WHITE; (3) CUT KNOPPED; AND (4) -CUT AND MOULDED CAPTAIN GLASSES] - -Then there is attraction in the historical and social traditions which -have gathered around the ware; romance lingers on in the Jacobite -glasses, the Williamite glasses, the Georgian glasses, the rummers and -groggers engraved and drunk from to celebrate the victories of Nelson -or famous elections; and humour resides in many of the relics of the -punch-bowl and six-bottle days. To honour particular occasions one’s -fine old glasses may come out of the cabinet and be used at table -again; I know a collector of “captain glasses” who brings them out for -champagne. For decoration or in use old glass has a refined, artistic, -aristocratic air. - - -NEITHER TOO RARE NOR TOO PLENTIFUL - -The sound of the past seems to throb in the ring of this frail and -dainty ware; at your touch the cry of the bygone seems heard again. -Because of fragility, enough of eighteenth-century glass has not -lasted on to make it common, and yet so much of it is still extant -that a collector’s hunt for it is by no means a hopeless quest. It may -still be acquired at reasonable prices from dealers in antiques, and a -hunter for it in odd corners, who buys in shillings, not in pounds, may -reasonably hope to pick up many fine specimens for next to nothing even -yet. Four years ago I bought a fine drawn cordial glass for 2d. Within -the past three years I have myself bought a perfect captain glass for -3s. 6d.; within the last year I have bought six punch-lifters for -17s. 6d. in all, uncommon as these bibulous old siphons are. A large -Bristol coloured-glass paper-weight may cost you £3 in a dealer’s shop, -because three years ago they began to be a “rage,” but within the past -two years I have bought a Bristol glass article, equally beautiful in -colour and glass-flowers, and much rarer, for 2s. Footless coaching -glasses and thistle-shaped fuddling glasses are seldom seen, even on a -dealer’s shelves, but I have found one of each, in odd corners, for 6d. - - -THE TIME TO COLLECT IS NOW - -[Illustration: WATERFORD GLASS ENGRAVED AND CUT: NOTE THE FANLIKE -EDGING AND THE “STAR” CUT TO EDGE OF BASE; ALSO THE DEEP CUTTING OF THE -FLORAL ORNAMENT] - -Now, if ever, is the time to collect old glass rather cheaply, for -already the prices of it are mounting in a remarkable way. Thirty -years ago old wine glasses engraved with roses, rosebuds, and -butterflies--rose glasses, as they are called--could be bought for -half-a-crown apiece or less--dozens of them; this price has multiplied -nearly twentyfold. Waterford cut-glass grows more and more dear to -buy, from dealers who know it when they possess it--they will soon be -selling it as if it were antique silver, at so much per ounce--but only -last year I bought in a provincial town a captain glass of this ware -for 15s., though £8 was the price asked for one just like it in the -West End. Now, if ever, is the time for a beginner to take up this line -of collecting; old English and Irish glass will never again be so easy -to find at reasonable prices as it is now. - - -SUCH CONNOISSEURSHIP NOT DIFFICULT - -Collecting is a form of education, but it is not difficult to become a -knowledgeable collector of old glass. Counterfeits are sent out by the -thousand, forgeries lie in wait, totally new glassware, imitative of -the old, is on sale in hundreds of curio dealers’ shops, some of them -otherwise honest and respectable; but only ignorance or carelessness -need be taken in. A little study, a little observation, a little care, -and the beginner will soon be able to avoid mistakes. Connoisseurship -in old glass is less difficult than it is in old china, for example; -porcelain or earthenware collecting is more various, more detailed, -has reference to longer periods of manufacture, and involves much -more specific knowledge than glass-collecting does. Yet I have known -two or three collectors of porcelain who declined to begin collecting -old glass because, they said, they would “never dare”--as if an -almost miraculous skill were needed to become a connoisseur in old -glass! In point of fact, this is the easiest hobby to study and know; -glass-collecting requires an eye for the different shades and tints of -the metal, a finger-tip for the feel of it, an ear for the ring of it, -and not much money as yet, and practically that is all. There are no -trade-marks to puzzle or deceive you; there is no such distinction, -difficult to understand and master, as between “soft” china and “hard.” -At present old glass is easy to know, and not difficult to find. - -I propose in this book to _give general hints, “tips,” and instructions -applicable to every variety of old glass; to explain the seven -principal tests of genuine age and antique make; to prepare the -beginner to go out collecting glass with the infallible rules and -principles for it fixed in his mind_. Equipped with these, anyone may -examine, test, and if satisfactory buy any vessel of glass which he or -she may find in any odd corner. I am not writing the book for the rich, -but for people with more taste and cultivation than money, and though I -deprecate “collecting” for the sake of selling again at a profit, I may -well point out that old English and Irish glass, bought cheaply now, -may become an investment _de père de famille_; the collector may have -the joy of finding it, the continual pleasure of owning it, and yet -know that it will turn out to be “good business” for his heirs, when -the sale comes, at the end. - - -ADVANTAGES ASSOCIATED WITH GLASS - -The collecting of old glass is not yet systematized; there are no -dealers’ catalogues of it or prices current. For the next few years -this advantage will continue in connexion with old glass. Every dealer -knows the high price which square-marked Worcester china can command; -every second-hand bookseller knows the price current of first editions, -or copies of rare books; but such is not the case with old glass as -yet. Systematization has hardly begun; there has been little research -into the history of makes and the names of makers. Here is another -advantage for a collector: he may discover things of that kind at -present unknown, and thus attach his name to the history of old glass -which will some day be written. A local collector may at no great cost -make a donation of his treasures to the local museum. There is no -public collection of Newcastle-made glass at Newcastle, for instance, -or of Sunderland-made glass at Sunderland, and no local antiquary has -studied the history of the fine glass products made on the Tyne and -the Wear. Nobody knows which kinds of glass were made at Norwich or -Lynn. A history of Stourbridge glass-making and glassware has yet to be -written. So that research, that additional delight of collecting, is -more open in connexion with glass than with any other well-known “line.” - - -COLLECTABLE GLASS ARTICLES - -[Illustration: LARGE MUG AND COIN MUG, IMITATING OLD SILVER SHAPES] - - -The number and diversity of old glass articles may be indicated by the -following incomplete list: wine glasses, beer glasses, cider glasses, -rummers, cordial glasses, liqueur glasses, tumblers, firing glasses, -coaching glasses, fuddling glasses, beakers, mugs, tankards, champagne -glasses, grog glasses, Masonic glasses, goblets, Joey glasses, “boot” -glasses, “yards of ale,” toy glasses; flasks, decanters, trays and -waiters; punch or salad bowls, trifle bowls; wine bottles, spirit -bottles; jugs, punch-lifters, decanter stands; jelly glasses, custard -glasses, flip glasses, syllabub glasses; fruit baskets, centre-pieces, -sweetmeat glasses, captain glasses, comports or sweetmeat glass stands, -epergnes, tazzas; salt cellars, sugar castors, pepper boxes; caddy -sugar bowls; lamps, lanterns, chandeliers, candlesticks, nightlight -glasses, taper holders; finger bowls, wine coolers; oil bottles, -vinegar bottles, mustard bottles; jars, pickle jars; tea trays, -preserve pots; vases, covered vases; rolling-pins, knife rests, knife -and fork handles, spoons, sugar crushers; butter pots, celery glasses; -weather glasses, chemical glasses, eye baths, witch-balls, porringers, -posset vessels, holy-water vessels; door-stops, paper-weights; mirrors, -knobs, glass pictures, bellows-shaped flasks, lustres, paste jewels, -beads, taws, toy birds, animals, tobacco pipes, bellows on stands, -walking-sticks, rapiers, and other elaborate baubles and oddities -made for ornament or as _tours de force_. There seems to have been a -Glass-makers’ Festival held at Newcastle some hundred years ago, and -it was for exhibition then that most of the freak glass toys and -ornaments were made. - -Much old English and Irish glass was contemporaneously sent to the -American market, and the following articles were advertised as on -sale at New York in the year 1773: “Very Rich Cut Glass Candlesticks, -Cut Glass Sugar Boxes and Cream Potts, Wine, Wine-and-Water Glasses, -and Beer Glasses, with Cut Shanks, Jelly and Syllabub Glasses, Glass -Salvers, also Cyder Glasses, Orange and Top Glasses, Glass Cans, Glass -Cream Buckets and Crewets, Royal Arch Mason Glasses, Globe and Barrel -Lamps, etc.” The “etc.” would be capacious; it would include most of -the articles mentioned in the paragraph just preceding this, and such -things as crystal globes to be filled with water through which a candle -might throw and condense its rays, for sewing or lace-making purposes, -at night. - -[Illustration: (1) BRISTOL; AND (2) NAILSEA COLOURED GLASS WITCH-BALLS] - -A collector ignores window-glass, unless he can come upon stained -glass, purchasing, for £5 perhaps, a leaded square or oval of -sixteenth-century Swiss or German painted glass, to hang in one of -his windows. A collector ignores plate-glass, except in the form of -mirrors, perhaps. A collector ignores carboys, and also ordinary -bottles, but he acquires when he can one of the thick, stumpy, almost -black glass bottles in which Georgian people bottled their own claret -or port, imported in the cask. It adds interest to an antique bookcase, -corner cupboard, or cabinet if the panes, or some of them, show the -slight curvature characteristic before perfectly flat sheet-glass could -be cast; and there are some old panes in which the oxides have turned -to a violet colour--a silversmith’s shop nearly opposite the top end of -the Haymarket still displays some--which are of interest to-day. There -used to be glass objects which, I suppose, we shall never come upon -now: the “mortar” or nightlight-glass, of the kind which stood beside -the last sleep of Charles I, and the “singing-glasses” which Pepys -heard in 1668, when he “had one or two singing-glasses made, which -make an echo to the voice, the first I ever saw; but so thin, that the -very breath broke one or two of them.” These, and many other beautiful -pieces of old glass, are for ever gone out of reach. - -But the hunter may come upon pieces which came into existence before -Queen Anne died: Jacobean glass, of the reign of Charles II at latest, -is occasionally found. For a guinea I obtained a fine sacramental -vessel in purfled and wreathed glass bearing the symbol of the Trinity -(see next page); for 5s. a pistol-shaped scent bottle; and for 12s. 6d. -a hand lamp, all three of Jacobean date. - - -THE HUNT FOR IT - -In fact, the limits in glass-collecting are not yet fixable; you never -know what quaint or rare thing you may not come upon in old glass. -Other lines of collecting are already systematized, and part of the -systematization is a limiting of what you may expect to find and a -raising of what you may have to pay. With glass there are no such -boundaries, at present; anything out of the ordinary in shape, purpose, -or date, may be acquired, and should be--the uncommon pieces are the -best--though often because a piece is quite unusual, it will be offered -you at a very low price. The smaller dealers know that from half a -guinea to a couple of guineas is what they may charge for an old wine -glass, according to the knobs or the spiral in its stem, but they do -not know any fixed price for less common specimens, and they will sell -at a hundred per cent. profit on the very small charges they themselves -have paid. - -[Illustration: COMMUNION VESSEL, SHOWING PURFLING ON THE HANDLE, AND -“WRITHEN” ORNAMENT ON THE BOWL (DATE CHARLES II)] - -Armed with knowledge of the general tests which I give in the next -chapter, a collector may enter a dealer’s shop near Bond Street or -a marine stores in the Old Kent Road, a broker’s at Hackney or a -cabinet-maker’s warehouse in a country town, a second-hand furniture -shop at Hammersmith or the Caledonian market on a Friday; he may look -into a butler’s pantry, peer into a cupboard in a kitchen corner, -search amidst the dust of a lumber-room, or reach to the deep interior -of a farmhouse dresser or sideboard; and almost always he will come -upon a collectable bit of old glass. He may hope to come upon an old -crystal gazing-ball, used by fashionable fortune-tellers a century ago; -or even one of the old glass eggs which eighteenth-century ladies held -in their hands to keep their palms cool for a lover’s kiss. - - -THE COLLECTOR’S RANGE - -[Illustration: MASONIC ENGRAVED GOBLET, WITH CUT STEM; THE GROOVES OF -THE CUTTING ENCROACHING ON THE BOWL] - -The beginner should recognize from the first that the range of the -collector of old glass is not yet defined; that the practical hints and -rules given in this book may be applied to _any_ piece of glass, and -should be, no matter how unusual its form or inexplicable now its use -in its time. During the next few years things which now seem oddities, -because they are so unusual, may become particularly sought after, -and valued because they are rare. I therefore advise the beginner to -be a general and diffusing collector, leaving no genuine old piece -unsnapped-up which comes within his reach and means. At present cut -Waterford glass and spiral-stemmed blown wine glasses are the things -most sought after by glass collectors, but they may not be so a few -years hence. I do not mean that they will ever drop in selling value -now, but I anticipate that the selling value of other glass articles, -rather neglected now, may appreciate; that is why I recommend the -practice of general and diffusive collecting and a wide range. But -if a collector prefers to specialize, he may set out to collect wine -glasses only, or inscribed glasses only, or what-not in that way; he -may go in for cut-glass only, or blown glass only, or coloured glass -only, or toys and eccentricities only; he may choose geographically, -collecting Irish glass only, or English glass only, or Bristol glass -only, and so forth. In any case his range will be limited by certain -dates; he will very seldom come upon a piece so old as the reign of -Charles II, and he will not care to collect glassware made so late -as the year in which Victoria came to the throne. With Venice-made -glass this book has nothing to do. Much old Dutch-made glass exists in -England, but the student of this book will be enabled to detect it, and -not unintentionally to acquire it believing it to be English made. -Bohemian-made glass, cut and coloured, is seldom taken up by collectors -here. The range in these islands is for English and Irish glass, for it -is the ware most readily collectable, most likely to increase in value, -and to be most readily sold when a collection comes to be dispersed; -I mention this latter consideration because any collector not wealthy -must, in justice to his heirs and dependents, in this matter “look to -the end.” - - - - -II. SEVEN GENERAL GUIDES AND TESTS - - -Setting forth to collect old glassware, therefore, what general guides -may the beginner use, and what reliable tests can he apply? - -There are seven: (1) the _tint_ of the glass; (2) the _sound_ of the -glass; (3) the _quality_ of the glass metal (or material); (4) the -_weight_; (5) the _signs of use and wear_; (6) the _pontil-mark_; and -(7) the _workmanship_. - -These seven suffice to equip the beginner. But as he collects and gains -experience, many details and developments of them will come to his -knowledge, which I shall refer to in their place. - -It should be remembered that there are no maker’s marks to go by in -glass, as there are in porcelain, earthenware, Sheffield plate, or -pewter; and no signatures, as there are in paintings, drawings, and -etchings. - - -1. THE TINTS OF OLD GLASS - -Old glass is _darkly_ brilliant. It is not _whitely_ crystal as -modern glass is; the eye can only see what it looks for, ever, and to -uninstructed eyes all glass is merely glass-colour, but the experienced -collector sees that there are many different tints and tinges in the -crystal of glass. These tints and tinges are the chief guide, test, and -principle by which one judges whether a piece of glass is one of the -nineteenth century, eighteenth century, or seventeenth century, as the -case may be. - -To judge the tint, place the piece of glass upon a white tablecloth, -near to a tumbler or decanter known to be modern because of recent -purchase from an ordinary vendor of household glass. The eye, looking -for it, will then notice in the two pieces of glass a striking -difference of tint, if one of them is old, that is; the old piece is -not only darker than the white of the tablecloth, but darker than the -piece of modern glass. And _the darker (or sootier) its tint the older -the glass_, as a rule. Tint or tinge is a constant feature in old -glass, and an obvious feature directly the eye knows what to look for. -Varieties of dark tint may be detected, and by these varieties the bit -of glass may be dated, its period determined, and its age assigned. - -[Illustration: HUNTING GOBLET, DOME FOOT] - -If you place near each other, upon a white damask cloth, a glass of -Charles II date, a William and Mary glass, a George III glass, and a -Victorian glass, you will notice a darkening and then a whitening in -tint (though not a brightening) as your eye travels from the oldest -glass to the most modern. By “tint” or “tinge” I do not mean “colour,” -in the sense of red or green or blue; I will deal with coloured glass -later on. By “tint” or “tinge” I mean the shade of leaden, darkish -hue in the metal from which the glass article was blown or moulded. -This tint or tinge was inherent in the molten glass, before shaping -and cooling began. The metal or raw material was mixed according to -recipe--each glassworks had its own recipe--and one of the materials -was lead. The older the Georgian glass, the more impure the metal--that -is, the fuller of lead oxides--and therefore the darker; what are -called improvements in glass-mixing have gradually eliminated the -oxides, and therefore the leaden tint or tinge also; it is astonishing -how many different shades and tinges of darkness (in that sense) a -cabinet of old glass can show. In a few glasses the bowl is pale -sapphire or aquamarine colour, the stem being the tint of plain glass. - -[Illustration: “TRAFALGAR” GLASS: RUMMER ON BALUSTER STEM AND RAISED -FOOT; EXAMPLE OF ELABORATE ENGRAVING] - -The glass collector exercises his sight and applies the test; it -enables him to detect a counterfeit, though in shape and general -appearance it imitates the genuine antique; it is too whitely crystal, -too tintless to be old. Curio-shop windows at Brighton, for instance, -are full of frauds in glass, chiefly cut-glass, or glass moulded to -resemble cut-glass; but the chalky-white tint betrays and condemns -them, and the instructed collector will not be taken in. Also he will -recognize genuine Waterford glass by its own tinge of colour, and -genuine Cork glass in a similar way; he will see that old Dutch-made -glass, when thick, has a smeary, milk-and-watery tint, and when thin -has a flashy, meretricious absence of deep tinting: he will learn that -old Stourbridge glass was whiter than antique Bristol or Newcastle -glass, and sometimes was milky-white; in course of time and practice -he will come to be able to “date” and “place” a piece of old glass at -sight, as well as instantly to reject a fraud. - -_The tints of Irish-made glass._ Glass made at Waterford, late in the -eighteenth century and early in the nineteenth, was a fine product, -often exquisitely cut: it is distinguishable in more than one way, but -has a characteristic tinge which, once seen, is unmistakable. I cannot -find exact words for it, it is not a blue nor a green nor a blackish -tint, but is something of all three, and was due to excessive presence -of oxide of lead. Nobody has done any research as to Irish-made glass, -and people suppose that Cork-made glass resembled the Waterford glass, -but that is very unlikely, because each factory mixed according to -its own recipe, and also used a different variety of each of the -raw materials common to all glass. In point of fact, Cork glass is -“duller” than Waterford, and it has quite a different, a pale, almost -dun or yellowish, tinge, particularly visible in the thicker parts; -a good many lustre-ornaments seem to have been made at Cork. Belfast -glass was yellowish, too, if we may judge by the tint of Williamite -glasses. - - -2. THE SOUND OF OLD GLASS - -[Illustration: EXAMPLE OF FINE QUALITY ROSE GLASS. COTTON-WHITE SPIRAL. -NOTE THE ROSE LEAVES AND STEMS] - -Perhaps because more lead was used in the “metal” or raw material, but -at any rate for some distinctive reason, _old English and Irish-made -glass has a more musical sound than any made abroad_. Flick or flip -with your finger-nail, or pinch near your ear, a piece of this old -ware, and _a vibrant, resonant, and lingering ring is audible_. The -thinner the part of the glass you flick the more the sound, of course; -but something of a ring should come from almost any part of the -article. Another way of producing this characteristic sound is to keep -on rubbing a wetted finger around the edge of the bowl of a wine glass -or finger bowl, till rhythmic vibration is set up, and the sound steals -forth. And it is a _bell-like, musical note_, almost the F sharp or G -sharp, or A or B of the 4th octave in a pianoforte keyboard: darkish -glass with this resonance is almost sure to be old English or Irish -made. Much eighteenth-century Dutch glass is still extant here, and is -often mistaken for English; but it need not be: thin or thick, _Dutch -glass sends out no lingering resonance_, long, clear, musical, and -true. _Dutch glass tinkles_ when you flip it, but the sound is dead a -few seconds after being born. The sound test for old English or Irish -glass is, Does it ring with a musical note that throbs, sings, and -lingers in a way to delight the ear? _The sound of old Dutch, French, -Italian, or German glass is cracked, so to speak_, though the vessel -itself is not; but - - _O hark, O hear! how thin and clear, - And thinner, clearer, farther going!_ - -are lines which Tennyson might have written to describe the music of -old English and Irish glass; too much stress cannot be laid upon this -test--the _lasting_ note is the criterion. - -So that now, with both tint and sound to guide us, we need not be taken -in by modern copies or old Dutch glass. - - -3. THE QUALITY OF OLD GLASS METAL - -[Illustration: EXAMPLE OF FINE QUALITY; SHOWING THE BUTTERFLY AND THE -COTTON-WHITE WREATHING AROUND THE CENTRAL TUBE] - -Italians and Frenchmen came to England in the sixteenth century to -teach the art and mystery of glass-making to our islanders; yet neither -old Italian nor French glass metal has the _quality_ of old English -and Irish glass metal. The glassware made here between the reigns of -Queen Anne and Queen Victoria had the best _quality_ of any glass -ever made in the world. But what is _quality_ in this connexion? -It means material, but it also means the manipulation of material -and the effect produced. The glass made during the reigns of the -four Georges was called “flint glass” and “lead glass”--misnomers, -perhaps, but I need not take up space here in discussing that; the -important point is that the _quality_ of the metal and the skill -of the manipulation resulted in thinness, rigidity, shapeliness, a -velvety surface, dark sheen, brilliancy, radiancy of facets when cut, -and the vibrant, musical ring of the eighteenth-century glass. Glass -made under Charles II was not so dark, and Victorian glass was whiter; -Victorian and modern English glass is of excellent quality, but is -uniform to almost a painful degree. It lacks character and diversity; -the Georgian glass was individual and original, so to speak. There were -faults in it--little air-blobs, or vesicles, that feel like pimples -on the surface, or show as bubbles within it; striations, like lines -of fibre, also; and deviations from the strict mathematic line or -curve, which were due to hand-work. But if you examine contemporary -Dutch-made, French-made, or Italian-made glass, you notice that the -same defects exist, and more numerously, while there is a flimsiness, -or a lumpiness, or a smeary look and harsh feel which are absent from -old English and Irish glass. - -A specked, pimply surface, and a dull thickness and clumsy lumpiness -or flashy thin lightness, are found in old Dutch-made glass; and this, -taken in conjunction with the absence of true ring, enables a collector -to reject the old ware sent over from Holland. _The quality of the -English and Irish glass metal comes out in the surface_, too, a little; -the fingers feel the surface of an old blown wine glass to be _cool_, -_smooth_, _hard_, _and yet velvety_; while the surface of Waterford -cut-glass has a _silky feel_. - - -4. THE WEIGHT OF OLD GLASS - -In his privately circulated book on “English Baluster Stemmed Glasses -of the Seventeenth and Eighteenth Centuries” Mr. Francis Buckley aptly -says that “English-made glasses of the first period were all light in -weight and cloudy in appearance. Some time between the Restoration and -the end of the seventeenth century, but when precisely it is difficult -to say, the English glass-makers began to try experiments with a view -to removing from their glasses this dull and cloudy appearance. Their -object was to produce a substance like crystal; and this object they -eventually achieved by introducing into their metal a large quantity of -lead.” This gave the characteristic weight. - -The old Dutch glass seems light in weight, even when it is thick; _old -English and Irish glass seems relatively heavy_ even when it is thin. -_Waterford glass is especially heavy._ These differences in weight are -probably due to differences in the materials used for mixing the metal; -but whatever the cause, they aid the collector to know the real from -the counterfeit, and the old English from the Dutch. Even the thick, -clumsy glasses made here in the reign of William and Mary seem more -weighty than those otherwise exactly similar which were then brought -over from Holland. - - -5. THE SIGNS OF USE AND WEAR - -Many fantastic pieces of old glass were made as curiosities or -ornaments, but most old glass was made for use. Glass is easily -scratched; as the wine glasses and decanters were set down upon -the hard, polished mahogany of dinner-tables, after the cloth was -drawn, and were moved, the feet of the wine glasses and the bases -of the decanters become scratched thereby. Lustre-ornaments, glass -candlesticks, or glass vases which stood upon marble or hard wood -mantelpieces, being moved when maidservants were dusting, became -scratched at the base. The collector will therefore carefully examine -those parts of a piece of glass which, if it is old, may be expected -to show the signs of use and wear caused by contact and movement upon -hard surfaces; it is well to do this by the aid of a pocket-lens--which -ought to be a glass collector’s constant companion. - -_In a genuine old piece the scratches are numerous, do not all run the -same way, and are dust-coloured, more or less._ Most counterfeits show -no scratches at all, but _the more elaborate forgeries show artificial -scratches; these usually run all one way, however, or seem all to have -been made together at the same time, and sometimes these artificial -scratchings appear in parts of the glass which would not be exposed to -marking of the kind when in use_, as, for instance, inside the bowls. - -Yet it is not wise to condemn and refuse as a fraud a piece of glass -which shows the other four or five general evidences of genuineness -simply because only slight scratching is evident; for the glass may -have been standing in a cupboard unused for many years, its nose put -out of joint by some change of fashion in table-ware soon after it -had been bought, and have passed into a collector’s cabinet before -coming into your hands for examination. Nor is it safe to suppose that -the more the scratches the older the piece; it may have had more than -the common amount of usage. If the glass has a “folded foot” or a -“ring-base” to stand on, the scratches will be at the very edge of the -foot, or on the ring, just where it touched the table or mantelpiece, -and there only. - - -6. THE PONTIL-MARK - -I mention this last because it does not apply to all old glass; it does -not apply to glass that was cast or moulded, but it applies to all old -blown glass, and is a very important test and guide indeed. - -The pontil-mark is either a depression in the glass, shallow, about -the size of the third finger-end, or a lump about that size, standing -up from the level of the glass around it. The pontil-mark indicates -_first_ that the piece of glass was originally blown, and _second_ that -before removing the blow-pipe the workman, as usual, attached the blown -glass to a pontil. The pontil or punt is an iron rod, joined to the -vessel by a little melted glass while the vessel is still hot. When -the time comes for taking away the pontil, it is done by contact with -cold water, which causes the glass to contract around the pontil-end -and the pontil to become detached. Glass vessels which were blown, -only, show the depression or the lump accordingly: blown-glass vessels -which were afterwards “cut” show it in part only, or not at all, if the -glass-cutter removed it: vessels neither blown nor cut, but cast in -a mould, do not show it because they never had it. In the eighteenth -century and the first quarter of the nineteenth, glass moulding seldom -took place; _so that the presence of the pontil-mark, whether it be a -hollow or a lump, usually indicates age in the vessel which shows it_. - -[Illustration: UNDER-SIDE OF WINE GLASS FOOT, SHOWING THE PONTIL-MARK -AND THE HEMMED OR “FOLDED FOOT” EDGE] - -In the oldest glass the pontil-hole is flaked with something which -rather resembles mica. In the oldest wine glasses the pontil-lump -stands out knobbily. In every case there are signs of the local -fracture. As a rule, the older the glass the bigger and rougher the -pontil-mark. - - -7. THE WORKMANSHIP - -The sensible, practical adaptation to purpose and the workmanlike make -of English and Irish old glass afford another test; compared with our -native product, French glass of the same period seems meagre, and Dutch -flimsy or clumsy; Italian is fantastic and tawdry. The French and the -Italian ware was often gilded, the Dutch painted: these are features -seldom seen on English and Irish glass. In place of gilding or other -added external decoration the island ware presented a substance neither -too thin nor too thick, bowls perfectly rounded, stems strong and stout -but not bulky, too tall, or too short; feet that hold on to the table -well, and are not warped and uneven. In the freak and toy pieces, too, -the excellence of the workmanship is obvious. - - - - -III. BLOWN WARE - - -The blow-pipe is not so old an implement as the potter’s wheel, but it -seems to have been used 5000 years ago, in Egypt. Pliny first gave the -fanciful account of Phœnician mariners accidentally fusing carbonate -of soda with sea-sand; Dr. Johnson commented on that as follows: “Who, -when he saw the first sand or ashes by a casual intenseness of heat -melted into a metallic form, rugged with excrescences, and clouded -with impurities, would have imagined that in this shapeless lump lay -concealed so many conveniences of life as would in time constitute a -great part of the happiness of the world? Yet by some such fortuitous -liquefaction was mankind taught to procure a body at once in a high -degree solid and transparent; which might admit the light of the sun -and exclude the violence of the wind; which might extend the view -of the philosopher to new ranges of existence, supply the decays of -nature, and succour old age with subsidiary sight.” - -Perhaps the first glassware was cast, or moulded, and there is no -record of when or where the blow-pipe was first used. Ancient glass -beads were probably made by moulding: probably the first glass ever -made in England (the windows at Wearmouth Church, in A.D. 675) was -cast. Not until the sixteenth century, apparently, was any blown -glass made in England, and none of it remains both extant and intact; -collectors are fortunate who come upon a piece of date so early as -the first half of the seventeenth century, even; but from the last -few years of the seventeenth century to the first few years of the -nineteenth century inclusive, English and Irish blown glass was the -best in the world. Therefore it is the _blown_ pieces which are the -most characteristic, whether blown only or blown and afterwards -engraved or cut. And the blown pieces, being intended for use, are -the more numerous, and the more readily collected; the cut and -engraved pieces, being for ornament, were more costly, and therefore -fewer--though perhaps they have been more carefully preserved. - -[Illustration: MOULDED CADDY SUGAR-BASIN, AND JACOBEAN HAND-LAMP WITH -BALUSTER STEM. NOTE THE CLOUDY TINGE] - -Drinking glasses are the most favoured aim of collectors and at -present are the old glass objects most frequently offered, but as -glass-collecting becomes more popular other glass objects are brought -out of cupboards and places where they have been lying neglected; -and my counsel is that a collector should acquire any piece of old -blown-glass ware which he can. - - - - -IV. CUT, MOULDED, AND ENGRAVED WARE - - -A collector nervous about frauds should take note that _counterfeits -of old cut-glass are much more numerous than counterfeits of old blown -glass_; the latter is forged, in the shape of wine glasses with spiral -stems, but not at all successfully. In cut-glass there is also the -confusion with moulded glass to beware of, but the finger feels the -edges of cut-glass to be slightly rough--rather like woodwork edges -not sand-papered off--and the eye can detect a difference between -what was cut and what was moulded. In fine old cut-glass the surface -feels silky, and the touch slips upon it where the cutting is shallow; -moulded glass has a wavy, rounded feel. Cut-ware glass seems to be the -more popular “line” of collecting in glass, so it is well to consider -the kinds of cutting here; remembering all the while the tests of tint, -etc., as between the old and the new. - - -THE ORIGIN OF CUT-GLASS - -English-and Irish-made glass, being heavier and better quality than -any other, lent itself to cutting especially well; but probably the -chief cause of the development of cut-glass here was the excise duty, -which was levied on the plain manufactured article, so to speak--the -glassware as the blower or moulder turned it out. The excise on that -having been paid, all additional value given to the ware afterwards -was non-taxable; therefore cutting came into vogue, and the glass -cut in these islands became the best in the world. Of all cut-glass -“Waterford” was the most beautiful; its specific gravity was the -greatest, and deep cutting could take place without the ware being -clumsily heavy to begin with. - - -THE “WATERFORD” STYLE OF CUTTING - -Cork, Dublin, and Belfast cut-glass resembles Waterford cut-glass -in everything but tint and weight, and perhaps it was the Celtic -strain in the Irish glass-cutters’ blood which gave a more than -English freedom and fantasy to their art. At any rate, the style of -their cutting may be described as “curved” and “arabesque”; it was -also shallow, generally; flowing lines and slight hollows, flattish -rounded curves, and interlacings are evident; stems and candlesticks -are “whittled” rather than cut deeply; rims are often surrounded by -little semicircles, the edge of each semicircle being cut into angles -with sharp points; sometimes these resemble half-open fans. The less -the amount of cut ornament, the earlier the piece, as a rule. There -is English style diamond-shaped cutting in Irish glass, and some -“hob-nail” cutting--shaped flat ends standing out as hob-nails do -from boot soles: there is some “strawberry” cutting; but as a rule, a -fluent, curving, arabesquing style of cutting, with parallel horizontal -lines, hollow prisms, upright fluting, and parallel vertical lines in -panels, the latter sometimes resembling basket-plaiting, characterize -Waterford cut-glass. - - -THE “STOURBRIDGE” CUTTING - -The Stourbridge glass-cutters, on the other hand, rather over-did and -abused the deep, regular, machine-like repetition of the “diamond” and -the “hob-nail” and the “pomegranate.” Sometimes, however, the cutting -was flat and flowing, and a festoon-like, hung-tapestry-like form may -be seen. - -[Illustration: (1 AND 2) WATERFORD, AND (3) STOURBRIDGE CUT-GLASS BOWLS] - - -THE “BRISTOL” CUTTING - -Bristol glass-cutters went in for depth, but also for fantasy: a -leaflike arrangement may be seen: the flowing lines in “Bristol” -cutting are not so fine and curved as they are in Waterford glass. - - -“NEWCASTLE” CUTTING - -Perhaps the “thistle” glasses, so popular in Scotland, were -made and cut at Newcastle, the nearest glass-making centre: but -“thistle cutting” does not mean cut like a thistle; it means minute -diamond-shape cuts upon a vessel conventionally resembling a -thistle-head in shape. - - -THE STAR AT THE BASE - -In old cut-glass a star is often found, cut in the base of the vessel, -_under_ it; usually the old glass-cutters extended this star to the -very edges of the base. In more modern cutting the rays of the star do -not extend so far. - -[Illustration: EXAMPLE OF “POMEGRANATE” AND “DIAMOND” CUTTING: NOTE THE -“STAR” ALSO, CUT TO THE EDGE, AND THE SCRATCH ACROSS THE BASE CAUSED BY -WEAR] - - -MOULDED GLASS - -About 1850 moulded imitations of cut-glass begun to oust the more -expensive originals, and moulded glass of that date and since then is -not worth a collector’s attention. But _old_ moulded glass, with the -right tint in it, is worth acquiring; in the shape of candlesticks, for -instance. - -Cutting could be done, and was done, either upon glassware originally -blown, or upon glass originally moulded--that is, cast in a mould. -Sometimes the stem or shank and foot were left untouched while the -upper part of the vessel was cut. Moulded glass uncut shows no -acuteness of edge nor sharpness in the depressions. Modern moulded -glass is often very elaborate, however, and the beginner may readily be -deceived. - - -ENGRAVED GLASS - -Some part of the engraving on some glasses was really cutting: in -roses which form part of the decoration of finely engraved glasses, -the finger feels plane after plane of depression, where the engraver -deeply cut away the metal to imitate the petals of the rose. When the -engraving goes as deep as this, or deeper than usual, the effect is to -give a dust colour to the engraved work, which helps one to be sure -that the object before one is not an old plain glass recently “engraved -up” with a Jacobite or other design to make it sell for more money. - -[Illustration: UNDER-SIDE OF BASIN, SHOWING THE STAR CUT TO THE EDGE] - -But as a rule engraving is a surface operation, done with a diamond or -on the wheel, or by sandblast, or by use of acids. Where the engraving -is flat, not cut in, the original greyish-white effect may long remain; -a collector need not suppose that the engraving is recent because the -tint of it is not brownish, a colour due to years and accumulations -of dust. Indeed, the rougher and coarser the recent engraving the more -likely dust to settle _in_ it, as well as upon it, and to give it a -dusty tint. Really fine old engraving can remain almost as fresh in -appearance and tint as it ever was, even till to-day. _And the natural -tint of glass engraving resembles the tint of ground glass._ Of course, -when the polishing-wheel was applied, either to parts or to the whole -of the engraving, this greyish-white tint was polished away. - -The polishing-wheel was also used to remove the pontil-mark (when it -was a lump or knob) from the feet of wine and other glasses. - -Dutch or German engraved old glass shows more _smeary_ in the engraved -part than English or Irish glassware does. - - - - -V. OLD COLOURED GLASS - - -At Bristol, Nailsea, Wrockwardine, and perhaps at Norwich, glassware -of various colours was made. There are collectors who care for nothing -else but coloured glass; there are collectors who only care for -coloured glass paper-weights; there are collectors who will not buy -coloured glass at all. - - -“BRISTOL” - -Bristol coloured glass is the most sought for. There are several -varieties. The rarest is the opaque, whitish glass which rather -resembles porcelain or Battersea enamel in general tint, and is painted -upon as if it were porcelain or enamel: held to a good light this -ware is seen to be rather opalescent, and might be dubbed opal glass. -Edkins, a painter of Bristol delft, used delft-like colours and designs -on this opal glass; wreaths of flowers (the rose and the fuchsia in -particular) and flourishes in the Louis XV style are characteristic. -Cups and saucers, teapots, tumblers, bowls and jugs, cruet vessels, and -candlesticks of this ware exist, though few; the last-named imitated -Battersea enamel candlesticks in shape and decoration. A characteristic -of this glass is ridges or waves on the surface, detected by the -finger. The earliest examples have domed and folded feet. - -Less rare, but rare, are the wine glasses with red and white or blue -and white spirals in the stems which were made at Bristol; if the white -is not cotton-white but greyish, however, such a glass is probably old -Dutch. - -[Illustration: BRISTOL COLOURED GLASS PEPPER BOX, SHOWING THE ELABORATE -FLOWERS, SUCH AS ARE SEEN IN PAPER-WEIGHTS] - -Fine tableware of transparent blue, blue-green, red, and purple was -made at Bristol; the blue is a peculiar, unique blue, imitated but -never well reproduced; where the glass is thick, it, held to the -light, shows a Royal purple, and where thin it is almost a sea-blue. -Egg-cups of this ware are handsome. Bristol red glass is of a ruby hue, -with not so much vermilion in it as in Bohemian glass: there is also -“cherry-red” glass. Bristol blue and red glass was sometimes touched -with gilt, in lettering and lines; this did not wear well except when -embossed. - -Bristol produced the finest glass paper-weights--of a size and shape -to fill the palm of one’s hand if only the wrist and finger-tips -are touching the paper--and at the base of these you see flowers of -coloured glass, bright and various in hue, and rendered with wonderful -skill; of the same kind of mosaic or tessellated glass is a small -pepper pot in my possession, a very rare example. Other Bristol -paper-weights, larger, and door-stops, still larger and heavier, were -tall ovals, two or three or four times the size of a goose’s egg and -rather resembling one in shape; the colour is a verdant or a sage -green, and the inner decoration is flower-petals and leaves, pearled -over as if by dew, and blown with extraordinary skill. - -[Illustration: BRISTOL COLOURED PAPER-WEIGHTS (1) GREEN; (2) COLOURED -SPIRALS] - -Collectors should beware of forgeries of parti-coloured paper-weights. -They may be known by the coarseness of the flowers inside the glass, -the lack of fine workmanship, and the tawdriness of the colours. - - -“BRISTOL” AND “NAILSEA” - -Nailsea is a small place near Bristol, and nobody can now be sure from -which of the two came any particular bauble--coloured glass-flask, -pestle, bell, witch-ball, tobacco pipe, trumpet, jug, rolling-pin, -bellows-shaped article, walking-stick or rapier, or the (excessively -rare) long glass cylinders containing coloured glass counters for -games. But it is thought that the Bristol wares of this kind were -brighter in colour than the Nailsea product, which, because less -skilful and daring, perhaps, was cooler in tint, less striking in -mixture of colours, and therefore more refined. Probably Bristol -produced the glass which is ornamented by alternate broad stripes of -red and opal-white. Perhaps Nailsea was responsible for glass of a -“greenery-yallery” hue containing whitish spots or splashes: there are -many forgeries of jugs and rolling-pins, in this style, about. - - -“WROCKWARDINE” - -At Wrockwardine, in Salop, the glass works turned out coloured -walking-sticks, ewers, scent-bottles, flasks, twin bottles for oil -and vinegar, and toys; the characteristic being that the glass is -_striped_, in white and one or more colours. - - -“SUNDERLAND” - -The Sunderland glassworks are supposed to have made rolling-pins, and -almost certainly produced the curious polygonal salt cellars (which -some people have thought to be insulators for piano-feet), that reflect -colour and gilding or coloured heads of men or women, from their bases, -talc keeping the ornament there in place. - - -MISCELLANEA - -Witch-balls seem to have been made at Bristol, for I own one of the -Bristol red and opal-white; at Nailsea (in inferior, watery blue); and -at Wrockwardine (greenish-blue striped with pale white). These balls, -it is said, were hung at each door and window, “to keep the witches -out” (see illustration, page 8). - -[Illustration: SUNDERLAND SALT CELLARS] - -Glass articles splashed with colour _outside_, on the exterior of -the article, exist, but in great rarity; the splashed-on colours are -glass-oxides, but look like oil-paint; the greenish clear glass beneath -the splashing resembles the Nailsea product. - - -GREEN, PURPLE, AND YELLOW WINE GLASSES - -Fine wine glasses, for hock or other white wines, were made in -olive-green, grass-green, purple, and orange; these are collected by -some people for use at table, by some for the collector’s cabinet. The -older ones show the characteristics of dimensions and shape which will -be described later in this book. - - - - -VI. OLD DRINKING GLASSES - - -These are the favourite quarry of the hunter for old glass. I prefer -the more uncommon and out-of-the-way pieces myself, but the old wine -glasses, goblets, cordial glasses, rummers, ale glasses, cider glasses, -and so forth are so interesting, often so beautiful, and sometimes so -quaint, that I do not wonder at the eager collecting of them. - -[Illustration: “THISTLE” GLASS, EARLY BALUSTER STEM] - -Seeking as I do right through this book to state general rules and -tests which the beginner may apply to all glass he comes across, I now -mention _the general features of old drinking glasses_. - - -THE LUMPY STEM - -In days when men did not rise from the dinner-table quite so easily as -they fell under it, the stem of a drinking glass must be thick, lest it -snap in the convulsive hand, and was more safely held when it was also -lumpy or bulbous--“knopped” and “baluster”-like are other terms for it: -the fingers clung to the knobs. - - -THE STOUT STEM - -Even when the bulbous or lumpy stem ceased to be the rule, a _thick_ -stem--three or four times the thickness of modern wine-glass stems--was -the rule, for the reason just given. - -[Illustration: EGG-CUP BOWL, KNOPPED STEM (COTTON-WHITE SPIRAL SWELLING -OUT)] - -[Illustration: TALL GOBLET, AIR-SPIRAL AND DOME-FOOT] - - -THE EXTENSIVE FOOT - -Similarly, old drinking glasses were always made with very broad “feet” -or bases; usually the foot had a larger circumference than the bowl. A -semi-drunken hand, setting the vessel down on the table, might leave -it rocking for two or three seconds, but the foot was so broad that it -could hardly rock over. - - -THE RAISED FOOT - -Because of the pontil-mark being often a knob, or protuberance, the -foot of the glass must not wholly rest upon the table, but touch it -near the circumference of the foot only, lest the knob at the end of -the stem should prevent the glass standing level, or should scratch the -mahogany. - - -THE DOMED FOOT - -Some of the oldest glasses, in which the pontil-mark is quite a large -protuberance, stand upon feet which, flat upon the table at and near -the edge, rise domelike in the centre. These dome feet are seldom -symmetrical; made by hand, the flat part is usually wider on one side -of the dome than on the other. - -[Illustration: DOME-FOOT] - -[Illustration: HIGH INSTEP FOOT (TWO VARIETIES)] - - -THE HIGH INSTEP FOOT - -As the pontil-mark became smaller and not so rough, the dome foot gave -place to one which is mainly flat at the base but slightly conical, -rising like a low round hillock, to join the stem: seen in profile, -these somewhat resemble a leg and a foot with a high instep. No -seventeenth-or eighteenth-century stemmed drinking glass except a -“firing” glass has a foot with an uniformly flat section. - - -THE HEMMED OR FOLDED FOOT - -Many old wine glasses are chipped at the edge of the foot; this was due -to carelessness in the scullery sometimes, but often to careless use -by convivial guests. Therefore glass-makers learned the advantage of -folding the edge of the foot under, like a hem in needlework; a rounded -edge, less likely to be chipped, was thus obtained. This “hem” is -nearly always irregular, being turned in more at one part of the base -than another. As a rule, the presence of a folded foot indicates that -the glass was made before 1760. - - -THE “NORWICH” FOOT - -Nobody knows what kind of glasses were made at Norwich or Lynn, but -there is a supposition that horizontal lines, in the bowl or in the -foot, mean “Norwich-made”: the foot is slightly terraced, so to speak. - -[Illustration: “NORWICH” FOOT] - - -THE FIRING GLASS FOOT - -There is, I believe, in certain Lodges, a semi-ritual practice of -hammering on the table with the feet of glasses, rhythmically, after a -toast, somewhat in the style of applause called “Kentish fire.” This -seems never to have been done with wine glasses, but old cordial or -spirit glasses exist in considerable numbers which were expressly made -for the purpose, and furnished with flat feet an eighth of an inch -thick or more, so that they should not crack by concussion; in these -old “firing-glasses,” too, the foot is bigger in circumference than the -bowl. - - -GENERAL RULES - -These considerations apply to stemmed glasses for ale, beer, cider, -and cordials also; and to rummers and grog glasses upon stems that are -short but stout. Therefore a _genuine English or Irish drinking glass -of seventeenth-, eighteenth-, or early nineteenth-century make has, -in addition to the tint, ring, quality, pontil-mark, workmanship, and -signs of use, a stout stem and an extensive, raised foot_. - -[Illustration: MASONIC FIRING GLASS: NOTE THE THICK FOOT] - -About 1830, the six-bottle men being all dead, and even the -three-bottle men becoming rare, the thickness of the stem and the -extensiveness of the foot could safely be reduced; the pontil-mark, -too, was smaller, and the foot of a glass could be made with a lower -instep, so to speak. Therefore a _thin stem and a foot not bigger, or -smaller, than the top of the bowl, with no pontil-mark, or hardly any, -signify that the glass was made during Victoria’s reign or just before -it began_. - - -“THUMB” GLASSES - -“Thumb” glasses are those in which the external surface of the bowl is -pitted with depressions the size of a finger-end, so that the shaking -hand of the bibulous might be the less likely to let the glass drop. -They are usually tall of bowl and short of stem, but rather big of foot. - - -THE SQUARE FOOT - -Old glasses with thick square bases appear to belong to the end of -the eighteenth century, when the “Empire” style was influencing -manufacture: often the base is of inferior workmanship to the bowl. - - -THE FEET OF TUMBLERS - -Even the bases of tumblers were made thick, though they were smaller in -circumference than the top of the tumbler. - - - - -VII. THE VARIOUS TYPES OF STEM - - -Wine glasses and other drinking vessels of glass may best be classified -according to the shape or decoration of the stem. - - -1. THE BALUSTER STEM - -The oldest English drinking glasses are those which have lumpy, knobby, -bulbous stems, of wavy outlines imitating the stems of Tudor and Stuart -silver goblets, and rather resembling the shape of balusters in stair -or terrace balustrades, or the uprights in some old gate-leg tables; -perhaps among the baluster stems we should class those which rather -resemble an inverted obelisk, the broad part just under the bowl and -the point within the foot (see illustration, page 84); this long -remained the favourite shape (and is almost the characteristic shape) -for what are called sweetmeat glasses on stems, and for comports or -glass stands for sweetmeat glasses; it gives a kind of shoulder to the -stem. Sometimes the lower part of such a stem as this is square in -section. - - -THE COLLAR IN THE BALUSTER STEM - -Often the stem does not directly join the bottom of the bowl, but has a -“neck,” with an outstanding ring of glass or “collar” around the neck; -sometimes the collar is double or triple; the neck and collar were -often used later, in other than baluster stems. Sometimes the collar -is near the foot; sometimes there are two collars. Around some stems a -fillet is found; these are very rare. - -[Illustration: “WILLIAMITE” GLASS: NOTE THE “COLLAR” ON THE BALUSTER -STEM] - - -THE OLDER BALUSTERS - -_The stouter and lumpier the older the baluster stem_, as a rule; after -the accession of William and Mary, the baluster stems grew more and -more refined and less heavy as the years went on. But baluster-stem -glasses are prized by most collectors according to their bigness and -lumpiness of outline; the older the better, from this point of view. -The massive stems are very handsome; where they touch the bowl the -bowl is very thick, and because the stem and pontil-mark were big, the -foot is often domed; so that the curves of the bowl, the undulations -of the stem, and the domelike or high-instep-like curve of the foot -make a matched and pleasant outline for the whole. _Almost invariably -baluster-stem glasses have folded feet._ - - -COINS IN THE BALUSTER STEMS - -Two things may be looked for inside these stems--coins and “tears.” -Sometimes one of the swelling-out parts of the baluster stem was large -enough to enclose a small silver coin; a coin glass is exceedingly -rare and correspondingly valuable, but the date of the coin does not -necessarily indicate the date of the glass. - - -“TEARS” IN THE STEM - -[Illustration: PLAIN DRAWN LARGE ALE GLASS, SHOWING “TEAR” IN STEM] - -Many baluster stems enclose a separate blob or bubble of glass, called -a “tear.” It has been thought that this was an accidental feature, -due to imperfect mixing of the metal and the presence of air in the -molten glass. Obviously, that is an unlikely cause, and in the Diary -of Mr. Pepys I have discovered a passage which seems to show how these -“tears” in the stem would begin. Writing little more than twenty years -before 1689, Pepys refers to the “chymical glasses which break all to -dust by breaking off a little end; which is a great mystery to me.” -These were called _lacrymæ Batavicæ_, or “Dutch tears,” and were made -by letting drops of molten glass fall into water; hissing, the glass -became tearlike in shape, a blob with a long slender tail, and hollow. -Probably such as these were the “tears” which appear as ornaments -within the old drinking-glass stems, distinctly visible and separate -from the rest of the glass in the stem, though of the same tinge and -quality of material. The name “tear” is to this extent a misnomer, -that nearly always the “tear” is bigger at the top than the bottom; -whereas a tear proper swells out more the lower it slips on the cheek. -But I own a baluster-stem glass in which the lower part of the “tear” -is the bigger, and in some such glasses the “tear” swells out or in to -match the shape of the stem. Sometimes three or five or more very small -“tears” appear in one of the bulbs. - - -2. THE DRAWN-OUT OR PLAIN ROUND STEM - -“Drawn glasses” were made at twice--the bowl and the stem in one, -the foot added later. To understand better this meaning of the word -“drawn,” imagine a soap-bubble with the extra suds adhering to one -part of it, and suppose that the extra suds could be drawn out to -make a stem; that was the method used in glass. The plain, round stem -resembles a solid cylinder, but it is part of the bowl, in fact it is -a continuation of the bowl. The end of the cylinder, around which the -foot was welded, made a pontil-lump, and therefore the plain stem glass -has either a high instep or a dome foot. - -[Illustration: DRAWN BOWL AND PLAIN ROUND STEM] - -The plain round stems were made stout because of insobriety, though -that had begun to lessen when this second type of stem came into vogue. -“Tears” are often seen in the plain round stems. - - -3. THE CORRUGATED ROUND STEM - -Stems which are ornamented by outside spirals, or series of small -ridges and grooves alternating, are usually old Dutch; but some of them -are English, though of inferior quality and ring. The quality is so -poor and the make so unsatisfactory that probably they were a “cheap -and nasty” contemporary imitation and substitute for glasses adorned -with the air spiral, the type which succeed the plain round stem. It is -hardly likely that the corrugated stem preceded the air-spiral stem; -or, if at all, for more than a few years. With these corrugated stems -one expects to find, almost without exception, that the bowl of the -glass is shaped like an inverted, incurving, waisted bell. - -[Illustration: (1) CORRUGATED STEM AND (2) HOP AND BARLEY GLASSES, THE -LATTER SHOWING THE “SILVER SPIRAL”] - - -4. THE AIR-SPIRAL STEM - -At any rate, out of the “tears” in the baluster and plain round stems -was developed the idea of ornamenting stems by internal spirals or -twists, and whether these should be number four or number three in the -chronological order is not very important. By twisting while drawing -out the stem from the surplus metal of the bowl (which contained -several small “tears”) the graceful and beautiful effect of the air -spiral _inside the stem_ was produced. Sometimes the spiral starts -within the bowl; sometimes it winds round the base of the bowl; but -always the ornamentation becomes a trellis-work or network when it -fills up the whole stem; when it does not fill up the whole stem, it -meanders down it medially, in one substantial spiral, like a corkscrew -or a rope, or in two that interlace: and in the finest examples the -finger can feel no ridging of the surface at all, though a slight -ridging is palpable in many glasses. Now all this meant splendid -workmanship--English aptitude at handicraft, the best of its kind in -the world. - -[Illustration: DRAWN BOWL AND AIR-SPIRAL STEM, BEGINNING BELOW THE BOWL] - -Sometimes the spiral is so very brilliant that it seems as if it -were made of quicksilver, and collectors call it “silver spiral” or -“brilliant air-twist”; but this is probably an effect of light. In -all cases the air spiral is glass colour, the tint of the rest of -the glass; red, cotton-white, and blue spirals belong to the type -of stem to be mentioned next. Sometimes, it is true, a white thread -is seen running down the centre of the stem, within the network -of air spirals; but oftener when this central thread occurs, it is -“air-colour” itself. - -Air spirals are often seen in stems of knobby or baluster form; -sometimes air-spiral stems have “necks.” This probably means that long -rods of glass containing air spirals were made, with the baluster -shape recurring at regular intervals of suitable length, so that the -rod could be cut up into lengths and each length welded on to the -bowl and the foot of a glass. These are the air-spiral glasses most -sought after. Sometimes the stem of a drawn glass was welded to a foot -of which a bulb was the upper part, this bulb sometimes containing -beadlike “tears,” but these are very rare: sometimes the upper part of -the stem is plain, and the lower part, beginning with a knob, is air -spiral, or _vice versa_. Sometimes old air-spiral glasses with small -feet are found; this was due to a practice of grinding away the edge, -when the feet had become chipped by much use, and re-polishing the feet -of these much-valued glasses; the folded foot for these glasses was not -the rule. - -Tall, slender-bowled air-spiral glasses for champagne are sometimes -found, in shape resembling the glasses called _flûtes_; I own one of -this sort not less than 9½ inches high. Rarer still are spiral-stemmed -glasses for ale; I own one 11 inches high (see illustration, page -60). The former I gave 7s. 6d. for, the latter 10s., a tithe of their -West-End prices. But these are very exceptional glasses. - -Air-spiral stems are found in cordial and spirit glasses, firing -glasses, and goblets with short stems. - - -5. THE COTTON-WHITE SPIRAL STEM - -[Illustration: TALL CHAMPAGNE GLASSES: (1) TAPE COTTON-WHITE, AND (2) -AIR-SPIRAL STEMS] - -During the latter half of the eighteenth century the air-spiral glasses -continued to be made, but the opaque or cotton-white spiral stems came -into fashion and general use. These were not “drawn” stems; they could -not be, because the white glass was not inherent in the metal. The -stem was made by lining a long cylindrical mould with wirelike “canes” -of cotton-white and other glass alternately. Then melted plain glass -was poured into the cylinder. The canes adhered to the warm metal, and -when the whole was reheated, it could be twisted into spiral designs. -Then the parti-coloured rod thus made was cut into stem-lengths. By -this means a great variety of designs in the spirals could be produced, -and indeed, the countless differences in English-made cotton-white -spirals, hardly any two alike, are one of the features of a collection. -Sometimes the design spreads like the air-twist; sometimes it circles -around a central, wavy tube; sometimes the cotton-white is tapelike, in -a “Greek key” pattern; sometimes an outer spiral runs around the inner -corkscrew; but always the effect is pleasing, and rather striking, -though perhaps not quite in the reticent good taste of the air-spiral -stems. - -[Illustration: STRAIGHT-SIDED, COTTON-WHITE GREEK KEY PATTERN] - -Dome feet or folded feet are hardly ever found under cotton-white -or other coloured spiral stems; any example of that should at once -be acquired; but the pontil-mark is always found--_if the glass be -old_. The white in English-made glasses is generally a pure, vivid, -cotton-white; in Dutch glasses it is usually a dull greyish hue. (This -is why I use the term “cotton-white” as descriptive of these English -stems.) - - -6. COLOURED SPIRAL STEMS - -The next step, to coloured or “mixed” spirals, was obvious, but not -very often taken at English glassworks: most of the red and white -spiral stems now seen came from Holland or Liège. However, at Bristol -red and white, and blue and white, spiral stems were made; they are -known by the ruby red and the peculiar Bristol blue. Yellow and white, -purple and white, and green and white spirals are known; rare indeed is -a three-colour spiral. Coloured twist stems were only made in England -about the end of the eighteenth century. An almost constant feature of -tri-coloured stems made in Holland or at Liège is a wavy central tube -of white, with coloured spirals around it, swelling or contracting to -suit the usually bulbous shape of the stem. - - -7. CUT PLAIN-GLASS STEMS - -These seem to have been in fashion during the period 1775-1825. -Usually the stems are hexagonal, and the cutting had, of course, to be -continued, in a shallow way, on the lower part of the bowl. “Thistle” -glasses are those in which the cutting of the stem and bowl to some -extent suggests the thistle in shape and appearance. The stems were -often knopped--this is a feature of Waterford glass cut stems--but -towards the end of the period mentioned above the stems became -cylindrical except for the cutting, and the cutting did not so much -produce facets as long grooves. - -The dates just given would suggest that the dome foot and the folded -foot are not to be looked for under cut stems, but they are met with, -the dome foot having been kept in use for ornament’s sake, probably. -Nor is the pontil-mark present, if the cutter removed it; except that -sometimes he left just the faintest trace of it, which the finger can -detect. - - - - -VIII. THE VARIOUS SHAPES OF BOWL - - -Stemmed drinking vessels, whether for wine or ale, for rum or cordials, -cider or drams, can be classified according to shape of bowl; this is -important for descriptive purposes, and to some extent for dating. The -following names of shapes do not apply to tumblers, mugs, or tankards, -of course. - -[Illustration: (1) DRAWN] - -[Illustration: (2) BELL] - -_There are ten general shapes of bowl_: - -1. _Drawn_, found with the plain round stem and the air-spiral stem. - -2. _Bell_, found with the baluster stem, the necked and collared stem, -the air-spiral stem, the cotton-white spiral stem, with coin glasses, -and with rose glasses. - -3. _Waisted bell_, found with the corrugated stem and the plain stem. - -4. _Straight-sided_, found with each class of stem. - -[Illustration: (3) WAISTED BELL] - -[Illustration: (4) STRAIGHT-SIDED] - -5. _Rectangular_, a variety of the straight-sided, found with the plain -round stem and the air-spiral stem. - -[Illustration: (5) RECTANGULAR] - -[Illustration: (6) EGG-CUP-SHAPED] - -6. _Egg-cup-shaped_, or ovoid, found with the cotton-white spiral stem, -the air-spiral stem, and the cut stem. - -7. _Ogee_ (named after a term in architecture, signifying a curve, -somewhat like the letter S), found mostly with the cotton-white -spiral stem and the coloured spiral stem. These are believed to be of -Bristol make as a rule, as many of them have the Bristol characteristic -of perpendicular or spiral flutings in the lower half of the bowl, -produced by pressure (a kind of moulding). The ogee bowl is also found -with the cut stem, the plain round stem, and moulded stems. - -[Illustration: (7) OGEE (TWO VARIETIES)] - -[Illustration: (8) LIPPED OGEE] - -[Illustration: (9) DOUBLE OGEE] - -[Illustration: (10) WAISTED] - -8. _Lipped ogee_, found with the coloured spiral stem, the cotton-white -stem, and moulded stems mainly. - -9. _Double ogee_, found with the air-spiral stem, and the cotton-white -stem; some of the oldest have knops and the folded foot. - -10. _Waisted_, found with the air-spiral stem and the mixed spiral stem. - - -SMALL LUMP OR BEAD AT BOTTOM OF BOWL - -[Illustration: “ROSE” GLASS, BELL BOWL, AIR-SPIRAL BEGINNING IN THE -BASE OF THE BOWL] - -In many of the older wine glasses the finger can feel, inside the bowl, -just above the top of the stem, a small conical projection, like that -of half a bead. But this is not invariable, or an essential proof of -genuineness. - - - - -IX. OTHER STEMMED DRINKING GLASSES - - -Wine glasses do not by any means exhaust the list of collectable -glasses on stems; there are many desirable stemmed glasses once used -for ale, cider, perry, or spirits, to be acquired. - - -1. ALE AND BEER GLASSES - -[Illustration: CANDLESTICK BETWEEN TALL BEER GLASSES] - -Many glasses, drawn, bell, or waisted-bell shape in bowl and baluster, -plain round, air spiral, cotton-white spiral, or cut in stem, exist, -which appear to have been used for the very strong ale then brewed; -often these are engraved with representations of hops and barley. - -Large vessels, perhaps used for “small beer,” exist, from 9 to 16 -inches tall, and proportionately capacious: the biggest of the kind -I ever saw was engraved with Jacobite emblems. The smaller examples -of this class may have been used daily; the larger may have been kept -for occasional use as loving-cups, or were never used at all, perhaps, -being merely _tours de force_ of the glass-maker, and kept as ornaments -to a sideboard. The very large ones are drawn glasses, with plain round -stems, as a rule; the nine-or ten-inch tall glasses of this kind are -baluster or plain round in stem. I bought one of these (see page 48) -for £2 5s. not long ago; its West-End price now might be £10, for it is -“Waterford.” - - -2. CIDER GLASSES - -No doubt some of the glasses mentioned just above were used at times -for strong cider; perhaps large goblets were used for draught perry -or cider at times. But special cider glasses exist, engraved with -representations of apples and apple-tree leaves, or apple-trees, and -these, from 6 to 7 inches tall, have ogee or rectangular bowls as a -rule, and usually cotton-white spiral stems. - - -3. CHAMPAGNE OR MUM GLASSES - -There are two types of old champagne or mum glasses, each rare: one -type has a wide-lipped bell or double-ogee bowl, upon a baluster stem, -and much resembles some of the bigger sweetmeat glasses; the other type -is 7 to 9 inches high, ogee bowl, and cotton-white stem. - - -4. RUMMERS AND MUGS - -There were three shapes of rummers used, one goblet shape, one on a -tall stem, and one on a stem which is also a base: sometimes the base -of an old rummer is square. The first of these three shapes has a -baluster stem, the second a plain round, spiral, or cut stem. - -Fine mugs, with handles, imitating contemporary old silverware, are -found; the mugs show something of a stem (see illustration, page 7). -Often they are engraved with the initials of their first owner, and -sometimes are dated also. Fine double-handled mugs, like loving-cups, -exist. - -[Illustration: (1) JOEY, (2) THISTLE FUDDLING, (3) BRISTOL COACHING, -AND (4) JOEY GLASSES] - - -5. SPIRIT GLASSES AND CORDIAL GLASSES - -These are small in bowl and short in stem, the bowl is often -straight-sided, and the stem is usually drawn, and often cut. But there -are many with drawn bowls and plain stems. A “thistle” glass of this -kind is specially valued. Often the bowl is engraved. Cordial glasses -may have long stems. - - -6. COACHING GLASSES AND FUDDLING GLASSES - -These are glasses which have no feet: they were used at one draught of -the liquor in them. I bought a Bristol opal glass of the kind for 6d., -but these are excessively rare. Almost as rare are the plain glasses, -with cut stems, used in coaching days. When the stage coach paused at -an inn, a waiter came out with a tray of footless glasses, each resting -on its bowl; the traveller took one up, inverted it into the proper -position, held it out to the bottle or decanter in the waiter’s hand, -drank, and set the glass down upon its bowl again. A fuddling glass was -a variety of coaching glass used indoors, for a rapid dram; a “thistle” -glass of this kind was favoured in Scotland. - -[Illustration: (1) DRAM, (2) TOASTMASTER, (3) OAKLEAF, AND (4) HOGARTH -GLASSES] - - -7. TOASTMASTER GLASSES - -These are less capacious dram glasses than they seem; the lower part -of the bowl was deceptively made very thick, so that the toastmaster -at a banquet need not drink so much as would otherwise have been -necessary, when announcing and sharing in every one of the score or two -of the toasts and “sentiments” which were honoured at every convivial -board. A relic of the “sentiment” habit was preserved by Dickens in the -language of Mr. Dick Swiveller: “May the wing of friendship never moult -a feather” was a “sentiment” in its day. - - -8. “HOGARTH” GLASSES - -Certain short, short-stemmed, or almost stemless glasses, with -“Norwich” feet often, and with drawn or waisted-bell bowls wide at the -mouth, are known as “Hogarth” glasses, because they were often shown in -Hogarth’s pictures of contemporary social life. - - -9. TAVERN AND KITCHEN GLASSES - -Old glasses are often found which in shape and purpose correspond with -those described in this chapter and chapters vi, vii, and viii, but -were obviously inferior in finish of make when new. These may be taken -to be glasses made cheaply for tavern and kitchen use; though not so -attractive as the better qualities, they should not be neglected by the -collector. - - -10. YARD OF ALE GLASSES - -Evelyn tells in his diary that in 1683 the health of James II was drunk -at Bromley “in a flint glass of a yard long.” Imitations of these -are made, but the real old ones are excessively rare. In shape they -rather resemble a coaching-horn, the mouthpiece being the foot, or the -mouthpiece being replaced by a bulb. They were used at merry-makings, -as proof of bibulous skill in emptying a glass a yard long. There are -also half-yard glasses. - - -11. “THIMBLEFUL” GLASSES - -These have a very small straight-sided or ogee bowl, upon a plain -round, or spiral stem and big foot. They are very rare. - - - - -X. JACOBITE, WILLIAMITE, AND HANOVERIAN GLASSES - - -These are the aristocracy among the wine glasses, goblets, and spirit -glasses. They are rare, difficult to find, and costly to buy, but not -impossible to come upon by lucky hazard. - - -THE ROSE GLASSES - -[Illustration: JACOBITE GLASS SHOWING THE STUART ROSE: ALSO THE -“CENTRAL TUBE” IN THE STEM] - -The dearest aim of every collector of old wine glasses is to come upon -a Jacobite glass. The more sanguine and less strict kind of collector -declares himself the owner of a Jacobite example if he possesses a -glass engraved with a six-petalled heraldic Stuart rose (one petal for -each King or Queen of Stuart blood who actually reigned in England, he -says), a large bud (representing the Old Pretender, he explains), a -smaller bud (for the Young Pretender), and a bird or (see illustration, -page 20) butterfly (crossing the narrow seas, he explains, to bring the -Stuarts back). - -[Illustration: JACOBITE GLASS, SHOWING PORTRAIT OF THE YOUNG PRETENDER] - -[Illustration: JACOBITE GLASS, SHOWING THE THISTLE] - -A stricter, less easily satisfied collector points out that those were -“the ordinary rose glasses,” used at all fashionable dinner-tables -in the eighteenth century (see illustration, page 59). The reply to -that is that the six-petalled rose and one of the buds, at least, are -heraldic, not naturally represented; that the heraldic, six-petalled -white rose was the Stuart rose; and that, at any rate, the “ordinary -rose glasses” were sometimes used by Jacobites, particularly in general -assemblies, because of their covert meaning, when it would have been -unsafe to use the treasonable Jacobite glasses proper. A slight -addition to the rose glass makes it truly Jacobite; thus I own a fine -goblet which is made Jacobite by a monk’s-hood flower being added--a -reference to General Monk. An “ordinary rose glass”--not so ordinary -after all, and difficult to procure now, as well as dear to buy--which -has a Stuart emblem engraved _under_ the foot of it is allowed to pass -muster by the stricter collector, but what he aims at or boasts of if -he possesses one is a “Jacobite glass proper.” - - -THE “JACOBITE” - -Now a “Jacobite glass proper” is engraved with a portrait of the Old -Pretender, or of his son “Bonnie Prince Charlie”; or with the rose, -two buds, a butterfly or a bird, and also a Jacobite motto or emblem, -or both; or with the cypher of the Old Pretender and the words of a -loyalist song. Upon a firing glass (the rarest of the Jacobite variety) -may be seen the touching emblem of a thunder-smitten tree putting forth -new branches, and the motto _Revirescit_ (It becomes green again). -Upon a wine glass may be seen the word “Fiat” with a star (perhaps -standing for _fiat lux_, “Let there be light,” or perhaps for “Let it -be done”--the second Restoration of the Stuarts). Or the motto may be -_Redeat_ (let him return), or, very rare, _Redi_; or _Radiat_ (perhaps -a misspelling of _Redeat_, or possibly meant for “let him shine”). If -an oak-leaf (as well as the other features) appear on the glass, it was -probably used in England; if a thistle, probably in Scotland. - -[Illustration: JACOBITE “FIRING” GLASS, SHOWING THE OAKLEAF AND THE -WORD “FIAT”] - -There still are a few Jacobite glasses lying unrecognised no doubt; -two were found in a London broker’s shop a few years ago, and bought -for 5s.; in 1914 a Bristol schoolmaster learned accidentally that two -glasses which had stood on a shelf on a sideboard in the family for -forty years were _Fiat_ glasses, and a valuer going to a house in -Sussex for other purposes, discovered a Prince Charlie portrait glass -(worth a hundred guineas now) still passing _incognito_--there had been -“the pair of it,” but that had been “smashed to bits,” the servants -said. - -[Illustration: JACOBITE “FIRING” GLASS, SHOWING THE STAR AND THE -ROSEBUD] - -The rarest form of Jacobite glasses is the short toasting or firing -glass, for strong waters, of “Hogarth” shape. I possess one of these; -it has a “Norwich” foot; the thickness of the base of the bowl, and -the “tear” in that and the short bulbous stem, seem to date it at -about 1725, so that it will be an “Old Pretender” glass. It is very -beautifully engraved with the six-petalled rose, the two buds, the word -“Fiat,” the rising star and the (Boscobel) oak-leaf. It had been kept -in an armoury, belonging to a collector who did not collect old glass. - -[Illustration: JACOBITE FIRING-GLASS: NOTE THE TERRACED OR “NORWICH” -FOOT AND THE “TEAR” IN THE BALUSTER STEM: ALSO THE CENTRE OF THE ROSE, -BRIGHT AMIDST THE GROUND-GLASS PETALS] - -No wonder people hunt for Jacobite glasses. They were the romantic, -loyal, treasonable vessels which were emptied to the toast of “his -Majesty over the water,” in clandestine and dangerous gatherings of -fair women and conspiring men. Then the great punch-bowl was filled -with water, to represent the narrow seas, and the red wine sparkled in -the glasses held out above it; as often at loyal Georgian assemblies a -Jacobite would be seen to hold his wine glass above a tumbler of water, -if called on to drink to “the King”: - - _Then all leapt up and joined their hands - With hearty clasp and greeting, - The brimming cups, outstretched by all, - Over the wide bowl meeting: - “A health!” they cried, “to witching eyes - Of sweetheart, wife, or daughter, - But never forget the white, white rose, - That blooms for us over the water!”_ - -Flip these old glasses with the finger-nail, and they ring like a -tuning-fork; draw thumb and finger upwards to the edge of the bowl, and -you hear a clear faint resonance, sad as the wailings after Culloden, -when final defeat had come. - - -THE “WILLIAMITE” - -I bought two fine, perfect, baluster-stemmed Williamite glasses for -a guinea once; they show William of Orange on horseback, and are -inscribed with “The Glorious Memory of King William, No Surrender, -Boyne, 1st. Iuly 1690”; and the initials “T.C” and “S.C”; on some such -glasses two of the initials are “S.T.” (see illustration, page 47). -The glass is a yellowish-white where it is thick, and if not made at -Belfast, may have been made in Cork; but the engraving would be done -in Ulster. Some such glasses are rather recent; no doubt the making of -Williamite glasses continued longer than the making of Jacobite glasses -did, because of the continued existence of Orange Lodges. Some of these -glasses are inscribed “The Immortal Memory” only, or “To the glorious -memory of King William” only. Williamite firing glasses, of “Hogarth” -shape, are also found. - - -THE “HANOVERIAN” - -When the House of Hanover came to the throne of the United Kingdom, -loyal drinking glasses were made accordingly. “God save King George” -and “Liberty” are the usual inscriptions on them; sometimes the -heraldic white horse of Hanover was engraved on the bowl, or the three -crosses of the Union Jack inside a garter and the rays of the sun. -Hanoverian glasses are rarer than Jacobite or Williamite, but Jacobite -glasses are the most valued and costly. - - - - -XI. TUMBLERS, TANKARDS, “JOEYS,” AND “BOOT” GLASSES - - -I class these together because they are stemless. Pewter and silver -tankards were imitated in glass, and these differ from mugs in being -straight-sided and quite stemless; often they were engraved with -initials and dates. - -Old tumblers are not found so numerously as old wine glasses are; -they are usually large, are often cut, and are sometimes engraved. -Some tumblers are barrel-shaped, like some rummers, but most tumblers -are “straight-sided” or “rectangular.” Some tumblers are engraved -with portraits (as of Admiral Keppel) or with inscriptions (as of -“Wellington for ever”). I own two which celebrate the “Independence of -Durham and Richd. Wharton its defender,” probably made at Sunderland in -1802, to commemorate a Parliamentary Election in which the freedom of -the citizens of Durham from rule by the bishop’s bailiff was involved. -Masonic tumblers are rare; so are Bristol opal-glass tumblers, yet I -own one which cost me 1s. - -“Joeys” are dram glasses, shaped like tumblers, or like fuddling -glasses with no foot or stem (see illustration, page 62). Mr. Joseph -Hume, M.P., had caused fourpenny bits to be coined; fourpenny bits -were accordingly called “joeys”; even to-day people call for a “joey” -of brandy. When a tax was put on gin, less of the liquor could then -be sold for fourpence; so that the glass was made thicker, and the -contents accordingly less. For a similar reason to-day there are in -public-houses glasses called “Lloyd Georges,” I am told. The two -“joeys” I own are of grass-green hue; one is inscribed with “4d.” - -[Illustration: SMALL BOOT GLASSES] - -“Boot” glasses are small blown vessels in the shape of riding-boots, -probably used for spirits in the parting dram, otherwise called the -stirrup-cup. There seems little foundation for the suggestion that -these were emblems of Lord Bute, in the days of George III; for as Mr. -Hartshorne, the founder of glass-collecting, discovered, a jack-boot -glass is preserved in the museum of Liège and another in a Dutch -museum, and these are older and more elaborate than the English “boot” -glasses. I own two of those which Mr. Hartshorne collected, and on -which he based the “Bute” suggestion, but small “boot” glasses are -exceedingly rare. A big one, cut, and 12 inches high, was once offered -me; I think it came from Liège. Large boot glasses striped with white -are seen sometimes; “boot” glasses can hardly have been peculiar to -Great Britain. Perhaps they were used by hunting men as an emblem of -their sport. - - - - -XII. BOTTLES, DECANTERS, AND JUGS - - -BOTTLES - -The Trapnell collection contained an early seventeenth-century bottle, -with a seal of a king’s head; another dated Henry Galshell, 1700; -another inscribed T. Bellamy, 1773. I own one bearing “C. Yoxall, 1778” -in raised letters on a raised lozenge. These are all of dark, thick -glass, and are short-necked and tun-bellied. A little later, in 1786, -for instance, the shape became like that of a beer bottle to-day, but -larger. - -The rectangular, shouldered spirit bottles, with separately made short -necks, and engraved or gilded, are usually Dutch, and were perhaps -enclosed in cases, something like “tantalus” bottles. There are tall, -embossed spirit bottles, often of coloured glass, with cut-glass -stoppers. There are cut-glass English bottles, decanter-shaped but -stopperless, a cork being used. Holster bottles were a kind of flask -carried in the saddle holster. Bottles for oil and vinegar and spices -resembled cruet bottles as a rule. Scent bottles, large, in plain -glass, are found; small scent bottles, cut or coloured, or mounted with -silver or pinchbeck stoppers, exist in great numbers; I own a Bristol -scent bottle which is cut like a shell cameo, through two layers of -coloured glass, one pink, one opal, down to the basal layer of plain -glass; it cost me 6s. 6d. - - -DECANTERS - -During most of the eighteenth century wine came to table in bottles; -“decanting” began to be the fashion about 1780, perhaps. The decanters -of that date have sloping shoulders as a rule; some in shape resemble -a drawn glass with short stem reversed; a little later decanters -became more globular and high-shouldered, with shorter necks. Engraved -festoons on a decanter, as indeed upon a wine glass, usually indicate -the “Empire” period by their decoration--the end of the eighteenth -century, if not the beginning of the next. It must be said, however, -that some “Jacobite” decanters exist with long necks and globular -bodies; so difficult is it to find a rule without an exception in old -glass. These Jacobite decanters have pointed stoppers, too; whereas -oval rounded stoppers seem generally to have been the early form. - - -JUGS - -Ale jugs, wine jugs, and water jugs in plain, coloured, or cut glass -are plentiful. The most desirable are Waterford made, known by -the tint, the weight, and the cutting. Cork-made jugs, resembling -Waterford-made in cutting, but yellowish in tint, are found. Bristol -coloured jugs, Wrockwardine striped and Nailsea splashed glass jugs -exist; these, like many other old plain glass jugs, are blown and not -cut. Jugs with very large necks and lips, either blown or cut, are -fairly early examples. Sometimes a plain glass jug will have a raised -festoon of plain or coloured glass about its neck. - -Milk and cream jugs in Bristol blue, opal, or ruby glass are well -known; cut milk-jugs exist in fair number. - - - - -XIII. BOWLS, LIFTERS, SUGAR-CRUSHERS, SPOONS, ETC. - - -Large cut-glass bowls, and plain bowls, exist, perhaps too small for -punch (except the Bristol painted opal-glass ones), but big enough for -fruit or salads. Often these stand on feet and stems. Finger bowls -of plain blown and of cut glass are found. Coloured glass bowls, of -Bristol blue, green, violet, or red, are desirable acquisitions. The -earliest form of finger bowl was not a finger glass so much as a wine -cooler or glass rinser; these have two projecting lips or ears opposite -each other, to support the glass as it lay in the water rinsing or -cooling. - -[Illustration: COLLARLESS, CUT, AND COLLARED “LIFTERS”: THE MIDDLE -COLLAR REPRESENTS A “FILLET”] - -The _toddy lifter_, _punch lifter_, or _grog lifter_ is an interesting -glass article; I own seven, though examples are quite rare. There are -several shapes. When the lower part is a high-shouldered decanter shape -it is said to be a punch lifter, and English; when the lower part is -round and shoulderless, like a club, it is Scottish and a toddy lifter. -In most cases there is a fillet or collar of glass round the neck, and -these are called ring-necked; the absence of the ring is rare. The -bowl is of the size required for an ordinary glassful, for the lifters -were used to transfer punch, toddy, or grog from the punch-bowl to the -glass. The earlier way of doing this was by a silver or wooden ladle, -but about the year 1800 the glass lifter (which is really a pipette or -siphon) came into use. When the base of the lifter sank into the punch, -the punch rose into the bowl of it by a hole in the bottom of it; the -thumb then closed the hole at the top of the neck, thus creating a -vacuum. Then the lifter could be carried over the table to the glass, -and when the thumb was taken away the punch ran down into the glass. - -Glass sugar crushers, plain, cut, or ridged with spirals, are found, -with a pestle-like end to them. Glass spoons are rare. Glass knives -are found, but most of them are doubtful. Pestles of Nailsea glass are -seen, perhaps once used by ladies in their still-rooms; maybe glass -mortars to match them may turn up. - -Knife rests for the table are found, some plain moulded, some cut, some -even with spirals inside them. - - - - -XIV. CANDLESTICKS, LUSTRES, AND LAMPS - - -Lustres and girandoles are often collected; glass standard lamps -seldom, at present; glass candlesticks are much hunted for. - - -1. CANDLESTICKS - -The most beautiful of glass candlesticks are those made and cut at -Waterford, which stand about 12 inches high; £10 is a low price for -a pair. Bristol cut-glass candlesticks are nearly as fine; Bristol -opal-glass candlesticks, plain or painted in the Battersea enamel -style, are exceedingly rare. Candlesticks with air-spiral and -cotton-white stems are occasionally met with. Ordinary moulded-glass -candlesticks, of the early nineteenth century, are pretty numerous: -fine moulded candlesticks are of earlier date. - -[Illustration: FINE MOULDED CANDLESTICKS; SEE ALSO ILLUSTRATION, PAGE -60] - -Glass candlesticks of Georgian date follow much the same order as -the contemporary wine glasses, in the feet, pontil-marks, and stems. -The earliest have baluster stems about 9 inches high, and round feet -between 6 and 7 inches in diameter; the feet are domed or high instep, -and the pontil-mark is a lump. The dome foot occurs with the air-spiral -stems, later, and even with the cut stems, later still; in these last, -as in the moulded and in the cut and engraved examples, the pontil-mark -does not show. Fine candlesticks ornamented by purfling were made (see -illustration, page 60). Glass taper stands are found. - - -2. LUSTRES - -The degenerate form of lustre that was found on every parlour -mantelpiece about the year 1860 is the best-known form, and many of -these coloured glass objects, belling out at the top and bottom, with -hanging prisms fantastically cut, are still extant; but as yet they are -little collected. The name “lustres,” however, may be used to include -the standing girandoles and the hanging chandeliers adorned with -festoons of diamond-like cut prisms, and these are much sought after; -many collectors acquire loose prisms, long or diamond-shaped, whenever -they can, and have them re-strung, to be added to new glass chandeliers. - -The earliest form of the girandole, or standing lustre, had a glass -standard and glass arms; the top of the standard was a candlestick -nozzle; the glass standard and arms and the dependent prisms reflected -the candlelight brilliantly. Two of these were in use at Mount Vernon -when George Washington was President of the United States; in the -_Boston News Letter_ for 1719, “Fine Glass Lamps and Lanthorns” were -advertised. Later, French influence brought in the ormolu and brass -standards, some two feet high with ormolu arms and glass hangers. -A complete set of girandoles, for a mantelpiece or console-stand, -consisted of three, with ormolu bases (sometimes representing a human -figure), standards, and arms; the central one triply or quintuply a -candlestick, the side ones singly so. - -In the fine tall lustres made in pairs at Cork about 1820 all was -glass, except the metal clips inserted in the nozzles to hold the -candles better. Until lustres lost their meaning and became mere mantel -ornaments the candlestick part of them was a usual feature. - - -3. LAMPS - -Glass standard lamps, some with round bases, some with square bases, -the stems cut or balustered, may be found; in some cases the standard -is short and supports a blown-glass lampshade; in other cases a -blown-glass bulb is part of the tall standard. - -A rare and interesting form of lamp, one of the oldest, has a bulb -with an opening in the top, the edges of the opening rounded off, and -a corrugated stand; these are small, and were used for nightlights. I -own three, one of them with a handle, and a dish beneath it, evidently -used for carrying the light from room to room (see illustration, page -27); such as these would, perhaps, be the old “mortars,” or night-light -holders, for a cake of wax and a wick. - - - - -XV. COMPORTS, SWEETMEAT, JELLY AND CUSTARD GLASSES - - -COMPORTS - -[Illustration: COMPORT, WITH CAPTAIN GLASS AND SWEETMEAT GLASS; ALL -THREE SHOWING THE “INVERTED OBELISK” STEM] - -A comport is a large glass stand upon which (as the name signifies) -other things may be carried together. A comport consists of a large -or largish glass disc, flat, with a rim to it, upheld upon a thick -stem--most often a shouldered stem, in shape resembling an inverted -obelisk, rising from a domed and folded foot. An old comport is a rare -possession; a modern glass cake-stand, such as confectioners use, is -a near approach to it in shape. The use of a comport appears to have -been to stand on a dining-table, bearing a number of glasses filled -with jelly or sweetmeats. - - -SWEETMEAT GLASSES - -Old sweetmeat glasses were used at table much as bon-bon dishes are -now, to pass round at the dessert course; or to hand to ladies at other -than mealtimes, during a call. Sweetmeat glasses proper resemble wine -glasses, but have wide bowls, thick-lipped, unsuitable for drinking -from: the shape of the stem resembled that of the stem of the comport. -Often these glasses were engraved. - -[Illustration: SWEETMEAT GLASSES: (1) MOULDED; (2) ENGRAVED (3) -WATERFORD CUT] - - -“CAPTAIN” OR “MASTER” GLASSES - -In the centre of the comport, surrounded by sweetmeat glasses, a -bigger, taller “captain” or “master” glass stood; its shape resembled -that of the smaller glasses, and it probably held a store from which -these could be replenished. “Captain” glasses are much sought for; the -most valuable are Waterford cut, the West-End price for one being now -£8. - -[Illustration: JELLY GLASSES. NOTE THE MOULDED ORNAMENT] - -The bowls are usually varieties of the double ogee; the moulded stem is -usually high-shouldered, inverted obelisk in shape, but air-spiral and -cotton-white spiral stems are found (see illustration, page 1). A cut -stem is usually knopped, but may be plain round, except for the cutting. - - -JELLY GLASSES - -Jelly glasses are small, low, moulded or pressed, almost stemless, -on domed or high instep feet; sometimes the bowls are plain blown or -moulded, sometimes cut, sometimes hexagonal. - - -CUSTARD GLASSES - -The most desirable custard glasses have handles. Some of them have -square bases. Some of them resemble smallish wine glasses with -corrugated stems. Most of them are decorated by pressed or incised -lines. - -[Illustration: (1) HANDLED, AND (2) SQUARED-BASED CUSTARD GLASSES] - - - - -XVI. SALT CELLARS, PEPPER BOXES, SUGAR BASINS, ETC. - - -The “Sunderland” salt cellars have already been mentioned (see page -39); moulded or cut-glass salt cellars are much less rare. The oldest -of these seem to be those with oval bowls, in the Queen Anne silver -style, with diamond-shape bases on short stems, everywhere cut. Some -salt cellars have turned-over tops, much broader than the rest of the -vessel; there are Bristol striped salt cellars of this shape. In some -cut salt cellars the lines run horizontally. Victorian salt cellars -were very heavy and rather plain. - -Pepper boxes of glass are round, or octagonal, plain or cut, with or -without a foot; holes are pierced in the top, there is a glass stopper -at the bottom; sometimes the base is square and the pierced top is of -silver. In some cases the vessel was used for castor-sugar. - -Sugar-basins exist in numbers, and in plain, cut, opal, and coloured -glass, notably in the Bristol blue. There are covered sugar basins; -when these are large and cut they are known as sugar bowls. A special -type is the _caddy sugar-basin_ (see page 27); this was usually of -straight-sided form, blown, moulded, or cut, or both moulded and cut; -it stood in the central receptacle of a tea-caddy, within the round -hole between the two rectangular boxes which held green tea and black -tea respectively. These basins are much more seldom met with than the -caddies are. Often they are very heavy, and nearly always they are very -ornamental. Bristol opal-glass sugar and slop basins are met with; in -this glass complete tea-sets were made, including tea poys or glass -tea-caddies. In the Willett collection was “a Bristol glass teapot and -cover, with flowers in colours.” A glass teapot is rarely found. - - - - -XVII. MIRRORS, GLASS PICTURES, GLASS KNOBS - - -Mirrors more properly come within the category of furniture, but they -largely consist of glass, of course, so that some notice of them is -needed here. - -In 1688 the art of casting large plates of glass began to be carried -on in France. In 1663 the art had been patented in England, but for -smaller sizes. One French mirror, now in the Louvre at Paris, was -valued at £6000 in 1791. Glass used to be a costly product; the chief -reason why old prints are usually found trimmed of their margins was -that glass to frame with them was so dear. - -Old _mirrors_ with bevelled edges have the bevel flattish, nearly in -the plane of the glass; the bevel follows the shape of the frame, -but is irregular at its inner outlines, because the grinding of the -bevel was done by hand. Modern bevels, done by machinery, are almost -mathematically exact, and make an acuter angle with the frame than the -old bevels do. Also the silvering at the back of old mirrors differs -from the method of silvering now used; the difference is much more -easy to recognize by the eye than to describe, but there is a kind of -granulation in the older backing. - -_Glass pictures_ are of two kinds; one in which the painting, in -oil-colours, was done upon the glass itself, usually at the back of -it; and another in which the paint was laid on coarsely behind a print -which, rubbed very thin at the back of the paper, had been affixed to -the back of the glass. This second kind is the more numerously met -with; also it is the most counterfeited. Age may be known, however, -by the curving, bubbly surface of the glass. A third kind, consisting -of a mosaic of bits of glass, so laid together in cement as to form a -picture is rare, even in modern examples. - -Glass _knobs_ to handsome sideboards were used in the first quarter of -the nineteenth century, and have continually been used in Yorkshire, -for dressers, since then; old glass knobs are usually moulded, but some -are cut, though the round, uncut shape was the most convenient for -handling. Glass door-knobs are found. - - - - -XVIII. OLD PASTE, GLASS BEADS, AND TAWS - - -PASTE - -All artificial “stones” used in jewellery are glass--glass variously -shaped, cut, and coloured--but “_old paste_” is glass not coloured; -though it may be backed with coloured foil, which shows a tint through -the glass. Old-paste collecting is, therefore, a branch of old-glass -collecting, and cannot be ignored in this book. - -White paste is usually a substitute for diamonds; the carefully made -and cut old paste or strass (the French name for it, adopted under -Louis V, when the best paste was made) came very near the look of -diamonds. Paste or strass is glass of a very hard, bright kind, cut in -the way in which diamonds are cut, and mounted in the metals and styles -which usually go with diamond jewellery. - -Behind these brilliant bits of cut-glass, silver or tinfoil was put, so -that light falling through the glass should be refracted and reflected -back, as it is in natural crystals such as diamonds. Time affects the -colour of this foil and thus gives a softer beauty to the effect. Old -paste is more beautiful than new paste for another reason, too--being -old glass it has the tints of old glass so often referred to in this -book. Some paste seems to have been made at Bristol, for “Bristows” or -“Bristol diamonds” some of it is called. - -The older paste ornaments have the bits of glass set separately, -each setting for each bit separate though touching each other, and -therefore there is much metal shown in the settings; this applies to -the seventeenth-century paste. Later, near the end of the eighteenth -century and afterwards, as now, the bits of glass were sunk within a -continuous grooved or hollow setting, each bit held in place by a small -claw or raised clip of metal soldered on to the general groove. The -setting for white paste was usually silver: coloured pastes were often -set in gold, silver gilt, pinchbeck, bronze, and sometimes in pewter. - -Paste consisting of very small pieces is preferable to the larger -varieties. “Diamond” paste is oftener found than “emerald,” “ruby,” or -“sapphire” paste. A certain form of paste (not truly paste) is found in -jewellery set with glass cut and silvered at the back, as if it were a -bit of looking-glass. - -A test for the age of paste is the presence of scratches on its -surface, and of dimness brought about by chemical action of the air. -The scratches are oftenest found at the edges and flats of the facets. - - -GLASS BEADS AND TAWS - -Glass _beads_ have been made ever since the making of glass was known, -in Egypt, Europe, and here. The general tests of age given in this book -may be applied to them. Glass _taws_ or marbles made for boys’ games, -or for a game called “solitaire” which used to be fashionable--a kind -of “patience” game with glass taws--used to show the characteristics of -air-spiral or cotton-white or coloured spiral stems. - - - - -XIX. GENERAL HINTS AND WARNINGS - - -INSCRIBED GLASSES - -A collector should not miss an opportunity of buying an inscribed glass -cheaply: for instance, a naval rummer, engraved with a cutlass, a dove -with the olive-branch, and “Our brave Allies” for 4s. But fine engraved -and inscribed modern glasses, imitating though not reproducing exactly -the old ones, are on sale in curio-shops. - - -ROSES, OAK-LEAVES, BIRDS, AND BUTTERFLIES ON GLASS - -Eventually any glass with roses, rosebuds, and a bird or butterfly -on it will rank as “Jacobite”; glasses with oak-leaves will also be -thought symbolical of Boscobel. Other such emblems will be discovered, -or are alleged; for instance, the aconite or monk’s-hood flower, -considered as an aspiration for another General Monk, who might restore -the Stuart line. - - -OLD GLASSES “ENGRAVED UP” - -Jacobite, Williamite, and Hanover or Trafalgar glasses being in great -demand, _ingenious persons take a real old wine glass, goblet, or -rummer, that is plain and innocent at the time, and engrave it_ with -Jacobite emblems or “Bonny Prince Charlie’s” head, or William of -Orange on horseback, or “Trafalgar,” or “Nile.” As a rule the evident -newness, roughness, and lack of “wear” of such added engraving condemn -it, to the eye and to the finger; but very ingenious persons use -chemicals, or mud, or attrition, in order to disguise the whitish-grey -tint of newly engraved glass; if part of the engraving be “buffed” -up--that is, polished till it is bright, transparent, and not the tint -of ground glass (see centre of rose, page 70), detection becomes more -difficult. - - -THE COLLECTOR’S INSTINCT - -But after a while the “instinct” of a collector comes into play to -protect him against these and other frauds. He cannot exactly reason -out and state why an offered piece is “wrong,” but he feels that it -is not right; which means that the “altogether” of the glass suggests -to his subconscious mind something which, though not expressed, is a -good reason for not buying the glass. But this “instinct” only comes -after much practice in collecting, and repeated turning of pages for -reference, in a book such as this; a collector’s books should not be -read once and then laid aside; they should be referred to on every -occasion, even after the “instinct” has begun to stir. - - -LIKELIHOOD AND IMPROBABILITY - -Extraordinary chances come to the “picking-up” collector, I know, but -he does well to keep in mind the probability or the unlikelihood of -his “find” being real. It is unlikely that he should more than once -happen upon a Jacobite glass, for example; and again, if he sees a -fine “Trafalgar” glass exhibited in a small jeweller’s shop, with no -other glass at all or any other “curios,” the probability is that some -fraudulent person has planted that false glass there, in what is a -likely place to attract and deceive a collector who “picks up.” - - -THE ABSOLUTE FRAUDS - -Old English and Irish glass has _a soft and mellow tone, both of look -and sound; it has a calm, respectable, honest appearance, as of quality -and honesty combined. Fitness for its purpose, good workmanship, some -quaintness perhaps, but not much fantasy, are visible in it_; if it -is decorated, _the decoration has been done well, but without lavish -artistic imagination_. - -Now about the forgeries of it there is _something hard and fast, an -appearance too shiny and shining, and a rigidity of copying_. Seldom -are even two old glasses belonging to a set quite alike, but the -forgeries are exact replicas by the hundred. See one, you see them -all; but see one real old glass, you notice differences in it from all -others. _Forged glass, recently made, is “buffed” or polished on the -wheel all over its surface; old glass was never buffed, and its polish -rather resembles that of old furniture due to “elbow grease”_--the -polish comes of long washing, wiping, and drying. - -I have already described the differences of tint. Forged glasses are -clumsy imitations in this, for the forgers do not try to give the old -dark tints--they use lead that is not so impure as the old lead was, -and therefore produces less visible oxide. - -The _cutting of old glass, done by hand, produced and displays -irregularities_; so does modern cutting. But _the old irregularities -were due to a lack of machine-like precision, and were natural, -accidental irregularities: the modern irregularities are (so to speak) -mechanical, and obviously due to haste and cheapness of production_. -Labour and time were no great matters with the old workmen; the -counterfeit work is obviously done with the minimum of labour and time. - -Modern English-made glass has often a good ring when flicked; -foreign-made frauds on the old have not, or have it seldom. - - -THE “MODERN ANTIQUE” - -Much of the glass sold in the smaller curio-shops as “antique” was not -made to deceive: it is the offering of it in such places which intends -fraud. Most English-made reproductions of old glass in shape and -cutting were not intended by the manufacturer to delude a collector, -but to attract the ordinary buyer for table use or decorative use; one -who is not a collector but “likes something that looks old-fashioned,” -as he says. - -Pawnbrokers’ and jewellers’ shops are stocked with what is called in -the trade “the modern antique”; other examples of this are the cheap, -hasty, and obvious copies of miniatures of famous beauties set in new -paste frames and sold for a few shillings. In pawnshops and ordinary -glass-shop windows a collector sees spiral-stem wine glasses made for -modern use and not intended to deceive; they are a kind of tawdrily -ornamental hock glass, embodying some modern designer’s idea of what -is beautiful; they correspond with no antique shape of bowl, the stems -are very thin and fragile, the feet are as small as or smaller than -the rim of the bowl, and the spirals are parti-coloured and “tight.” -No collector need be taken in by such as these--they were not made to -take him in, they are ordinary articles of modern manufacture and daily -commerce. - -So are the white glass bowls, tazzas, centre-pieces, vases, “specimen -glasses,” etc., elaborately cut, perhaps engraved also, and meant for -modern tables and mantelpieces. These are copies of the fine old ware -simply because the old ware affords good models, and the information -given in chapter ii of this book will enable a collector to recognize -the modernity of these honest imitations, even when they are found (as -they often are) in a shop supposed to purvey antiques. - - -OUT-OF-THE-WAY PIECES - -I do not say that very unusual and out-of-the-way pieces of old glass -should be avoided; as the collecting of glass increases, many rare old -things will be brought out of cupboards and sold in shops. But I do -say that, as a rule, a collector should feel suspicious of any piece -not resembling those which are pictured in books like this, or those -seen in museum collections. Thus a tall, bulky goblet engraved with a -portrait of William Pitt or Wellington, and inscribed accordingly, if -it is offered for 30s., say, is highly suspicious, to say the least of -it; and the safer course is to refuse apparent bargains of the kind. - - -FAKED JACOBITE GLASSES, ETC. - -This applies even more to the pseudo-Jacobite, Williamite, Nelson, -and other famous glasses which are offered. They may be old glasses -“engraved up,” in which case the only mode of detection is the quality, -finish and tint of the engraving. They may be English-made modern -glass, of the right ring and the old way of manufacture; in which case -the test of tint in the glass itself may be added to the test of the -engraving. In either case the engraving may too closely reproduce an -original glass; it is seldom that two old glasses of this type exactly -resemble each other in the position of the various emblems, portraits, -and so on: for example, the word _Fiat_ is hardly ever found in exactly -the same place on two real old glasses. If the pseudo-Jacobite or other -engraved glass fails to respond to the characteristics of high instep -or domed foot, tint, ring, etc., or any of these, it should be rejected. - - -FAKED SPIRAL GLASSES - -Fraudulent air-spiral or cotton-spiral-stemmed glasses, not engraved or -inscribed, are the fraud most often offered to a collector: in addition -to the other tests mentioned, _the test of the skill and quality of -the spiral itself can be used_ in this case. The _counterfeits show -spirals which are meagre, irregular, tight, or the wrong colour; they -do not fill up the stem, or exactly swell out to fill up the knops; -in the cotton-white there are defects resembling dropped threads in a -piece of linen, or missed stitches in a piece of lace_. I possess one -excellently twisted air-spiral forgery, a simple cable, which might -deceive if the plain glass around it forming the rest of the stem -were not so thick and so distinct as to suggest that the spiral was -made first and the plain glass placed around it afterwards; _the old -spirals, air, cotton-white or coloured, were twisted at the time of and -in the actual making of the whole stem_. Modern spiral stems are often -writhen or ridged on the surface, too; which means that the twisting -of the stem has been done with less than the old amount of skill. In -short, the making of spiral stems is a lost art, not recovered even by -the assiduous forgers, up to the present. - -_If a spiral revolves upwards from right to left_--the right to the -left of the person looking at it--_reject it_; this defect was a -feature of the earlier forgeries, but the proper direction of the -upward twist (from left to right) is now used in these fakes. - -The old cut stems are more easily imitated: _with these a test is the -absence of all trace of a pontil-mark_. In many old cut glasses the -finger feels a distinct depression, usually circular, which shows where -the old pontil-mark was cut away. In some forgeries, made by moulding, -not by blowing, the pontil-mark is imitated, but so grossly that it -ought not to deceive. - - -SHAM WINE COOLERS AND FINGER BOWLS - -Counterfeit eared wine coolers and beautifully cut counterfeit finger -bowls are on the curio market; the usual tests should detect these. -Imitation Bristol blue, and violet glass is offered, but it is not the -right blue, which passes from a purple in the thick, to a sea-blue in -the thin, parts when held to the light; or not the right violet, in -which the same varying of colour is evident. Dozens of fraudulent white -and violet finger bowls, elaborately cut, are on the market; but it is -the rarest thing to find more than five or six left of any set of old -finger bowls. - - -OLD DUTCH GLASS - -Glassware of the seventeenth and eighteenth century made in the -Lowlands, whether at Liège or Amsterdam, is known over here as “old -Dutch.” Collectors will do wisely to study this ware, whether for the -purpose of rejecting or acquiring it. Most collectors of English and -Irish glass reject it at once; they rightly say that _when thin it is -too light-weight, bubbly, flashy, flat and short of ring, and when -thick too smeary of tint and too clumsy to be first class; and often -the engraving is poor and ugly_. Indeed, there is _something unfinished -and unworkmanlike about it_, compared with the craftsmanship put -into English and Irish old glass; just as there is about Dutch-made -furniture of William and Mary and Queen Anne date, compared with -English-made furniture of the Chippendale period and style. _There is -something unsatisfactory in the look, shape, and proportions; it seems -to lack completeness and fitness._ - -In the stemmed glasses, however, _the Dutch air spirals are excellently -done--except where they join the foot of the glass, sometimes; and the -cotton-white spirals are hardly inferior to the English except in the -greyness of the colour_. For this reason, and also because the number -of collectors of old glass increases, Dutch wine glasses on spiral -stems go up in price at London auctions nowadays, and a rose glass or -other pretty, well-engraved piece of Flemish or Dutch origin may be -worth acquiring: there are collectors here of the Holland ware already, -and there will be more as English and Irish ware of the kind becomes -more difficult to find and expensive to buy. A spirit bottle, decanter, -goblet, or other piece of Dutch glass that is engraved with armorials -or dates, or names or legends, is not to be disdained, therefore; nor -is any unusual piece that is quaintly quirked, fluted, purfled, and -bossed. - - -CHIPPED OR BROKEN PIECES - -It is sometimes worth while cheaply to acquire a chipped or even -a broken piece of old glass, if it is very rare in kind, form, or -purpose. Chipped feet of wine glasses can be ground again, but it -is hardly worth while; when the foot is almost all gone, a metal -substitute can be made for it, but that is hardly worth while. I know -of a Jacobite glass with a big piece out of the engraved portion -cemented in again; the price of the glass is £40 all the same; but as a -rule it is not worth while to acquire chipped or broken articles of old -glass. - - -“TOUT PASSE, TOUT CASSE, TOUT LASSE” - -The French proverb tells us that everything passes, everything breaks, -everything wearies, at last. But the collector knows better than that; -he prevents old works of art and craft from passing altogether; he -keeps them safe from breaking, and he never wearies of adding to them -or studying them; as I hope this book may enable many a collector to -do. - - - - -INDEX - - - - -INDEX - - - ABSOLUTE frauds, 97 - - Air spiral, 41, 50 - - Air-spiral stems, 50, 51 - - - BALUSTER stems, 40, 46, 47 - - Beads, 93 - - Beer glasses, 60 - - Belfast-made glass, 18 - - Bell bowl, 56 - - Blown ware, 26 - - Bohemian glass, 13 - - “Boot” glasses, 74 - - Bottles, 76 - - Bowl shapes, 56, 59 - - Bowls, 79 - - Bristol cut-glass, 31 - coloured glass, 35, 36 - opal glass, 35 - - Butterfly, engraved, 20 - - - CADDY sugar-basin, 27, 88 - - Candlesticks, 60, 81 - - “Captain” glasses, 85 - - “Central tube” stem, 53, 55, 66 - - Champagne glasses, 53, 61 - - Chipped or broken pieces, 103 - - Cider glasses, 61 - - Coaching glasses, 62, 63 - - Coins in stems, 7, 47 - - Collar in stem, 46 - - Collectable articles, 6 - - Collector’s instinct, 96 - range, 11 - - Coloured glass, 35 - spirals, 54 - - Communion vessel, 10 - - Comports, 84 - - Cork-made glass, 17 - - Cotton-white spirals, 53 - - Corrugated stems, 50 - - Custard glasses, 87 - - Cut-glass, 29 - stems, 55 - - - DECANTERS, 77 - - Defects of quality, 20, 21 - - “Diamond” cutting, 30 - - Dome-foot, 41, 42 - - Double ogee bowl, 58 - - Drawn bowl, 49, 56 - - “Drawn” stems, 49 - - Drinking glasses, 40 - - Dutch glass, 19, 21, 102 - - - EGG-CUP bowl, 41, 57 - - Engraved glass, 33 - - “Engraved up,” 95 - - Extensive feet, 41 - - - “FAKED” glasses, 100 - - Feel of glass, 21 - - Feet of tumblers, 45 - - “Fiat” glasses, 68, 69 - - Firing glasses, 44 - - Firing-glass foot, 43 - - Folded foot, 43 - - Fuddling glasses, 62, 63 - - - GENERAL guides and tests, 14 - hints, 95 - warnings, 95 - - Girandoles, 82 - - Glass knobs, 91 - pictures, 90 - - Goblets, 12, 15, 41 - - “Greek key” spirals, 54 - - - “HANOVERIAN” glasses, 71 - - Hemmed foot, 43 - - High instep foot, 42 - - “Hobnail” cutting, 30 - - Hogarth glasses, 64 - - Hop and barley glasses, 50, 60 - - - IRISH-MADE glass, 17 - - - JACOBEAN lamp, 27 - - Jacobite glasses, 66, 68 - mottoes, 68 - - Jelly glasses, 86 - - “Joey” glasses, 62, 73 - - Jugs, 77 - - - KITCHEN glasses, 64 - - Knife-rests, 80 - - Knives, 80 - - Knopped stems, 40 - - - LAMPS, 27, 83 - - Likelihood and improbability, 96 - - Lipped ogee bowl, 58 - - Lumpy stems, 40 - - Lustres, 82 - - - “MASTER” glasses, 85 - - Mirrors, 90 - - “Modern antiques,” 98 - - Mugs, 7, 62 - - Mum glasses, 61 - - - NAILSEA glass, 37 - - Norwich foot, 43 - - - OAKLEAF on glass, 63, 68 - - Ogee bowl, 58 - - “Old Pretender” glasses, 69 - - Out-of-the-way pieces, 99 - - - PAPER-WEIGHTS, 37 - - Paste, 92 - - Pepper boxes, 88 - - Pestles, 80 - - Plain round stems, 49 - - “Pomegranate” cutting, 31, 32 - - Pontil-marks, 23, 24 - - Punch-lifters, 79 - - - QUALITY of metal, 19 - - - RECTANGULAR bowl, 57 - - Rose glasses, 18, 59, 66 - - Rummers, 16, 61 - - - SALT cellars, 39, 88 - - Scratches, 22 - - Shams, 101 - - Signs of use and wear, 22 - - “Silver” spirals, 50, 51 - - Sounds, 18 - - Spirit glasses, 62 - - Spoons, 80 - - Square foot, 45 - - Star-cutting, 32 - - Stems, 46-55 - - Stourbridge glass, 31 - - Stout stems, 41 - - Straight-sided bowl, 57 - - Stuart emblems, 66, 67 - - Styles of cutting, 30, 31 - - Sugar-basins, 27, 88 - crushers, 80 - - Sunderland glass, 38, 39 - - Sweetmeat glasses, 1, 85 - - - TANKARDS, 73 - - Tavern glasses, 64 - - Taws, 94 - - “Tears” in stems, 48 - - “Thimbleful” glasses, 65 - - Thistle engraved, 67 - - “Thistle” glass, 40 - - Thumb glasses, 45 - - Tints, 14, 20 - - Toastmaster glasses, 63 - - Toddy-lifters, 79 - - “Trafalgar” glasses, 16, 97 - - Tumblers, 73 - - - VENICE glass, 12 - - - WAISTED bowl, 58 - bell bowl, 57 - - Waterford glass, 3, 17, 21, 30 - - Weight, 21 - - “Williamite” glasses, 71 - - Window glass, 8 - - Witch-balls, 8, 38 - - Workmanship, 25 - - Wrockwardine glass, 38 - - - “YARD of ale” glasses, 64 - - - - - Printed in Great Britain by - Richard Clay & Sons, Limited, - BUNGAY, SUFFOLK. - - - - -Transcriber's notes: - - -In the text version, italics are represented by _underscores_, and bold -and black letter text by =equals= symbols. Superscripts are represented -by ^{} and subscripts by _{}. - -Missing or incorrect punctuation has been repaired. Inconsistent -spelling and hyphenation have been left as printed. - -The following mistakes have been noted: - - p.15. Tin Changed to Tint. - p.16. The older the Georgian the glass, extra the removed - - - - - -End of the Project Gutenberg EBook of Collecting Old Glass, by J. H. 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